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1992 Spring Music Conference
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by Steve Sherman
This is my report on the Spring Music Conference. Like the 1991 Fall Music
Conference, this was an event not to be missed. Unlike the 1991 FMC, this
was well attended. It was practically standing room only for much of the
conference. The event practically boiled over with excitement, peer support
and vital information. I took notes, but missed a lot. You had to be there.
This was sponsored by Mentor Music Group, Strawberries Music, Movies and More,
and Rock 93, WCGY.
Now, y'all may be wondering "why so late, Steve?" Well, Gentle Reader, Steve
has been feeling a bit like Job of late, except the piles have been on all his
family members (in the form of chicken pox). After a combination of
life-threatening bacterial infection, chicken pox and giving birth to our new
baby daughter, my wife returned home just in time for me to go to the
conference. And, I give thanks. Then, two days after the conference as thy
humble servant waited for the light to turn red at the intersection whose name
is Hudson and Route 85 in Marlboro, Mass, lo and behold a chariot whose name was
Volkswagen and whose velocity was many did strike me from behind and did
make of my rear bumber many shards. And the name of my car mightest be
Landfill according to the will and pleasure of the Other Guy's Insurer.
Behold, it was not My Fault. And, I give thanks. Even as I write, verily
I have contracted The Sore Throat and am in need of many days of rest.
And, though I have great need to gaze into the eyes of my newborn, yea even
though she has spat Enfamil upon me and upon my shirt, verily, and I have great
need to delight in the new fruit of my loins, nevertheless, Guilt sayeth unto
me, "Write!" And, I give thanks. Therefore, blessed art thou, Gentle Reader.
I much enjoyed meeting fellow DEC employees Alan Starr, David Bottom and Peter
Cook. Several of the gang took advantage of my offer to get them in at group
rates. I plan to make the offer again for the 1992 Fall Music Conference.
BTW, the 1992 FMC will be held at the same place as the SMC, the Vista
International Hotel in Waltham (on route 128) on October 25th of this year.
I also enjoyed getting to meet in person Rick Schettino (Senior Editor of New
England Performer). For those that don't know, Rick is another one of those
heroes responsible for trying to bring the local music scene together. The
facility for his magazine burned down some time ago and they have slowly been
rebuilding. NEP is THE magazine that tracks the local music scene. A
subscription is cheap (only $30 per year to keep up on what's happening on the
Boston scene). Don't want to spend that much? Call 'em. They've got other
deals. Their number is (617) 395-7055. They need your help.
Finally got to meet Akhil Garland of Platinum Sound. One o' these days we'll
do business. They're the ones that got me turned on to these conferences.
Okay, so my buddy Dan Klimoski and I headed to the Vista International. We
were a bit late, but wound up being there just in time. We were warmly greeted
at the gate. We quickly found good seats in the meeting area. Already there
was beginning to be a crowd. I don't know how many folks were there. Maybe
150? Don't know. But, it felt really good.
Harvey Wharfield kicked it off. He and Tricia seemed to be pretty much hosting
the show. These are absolutely wonderful people! Anyway, there was a
reverent hush that went over the crowd as Harvey spoke and introduced the first
panel discussion. Probably the most quiet you'll ever hear from this crowd!
These panel discussions all had the same basic format. That is, the panelists
would give short statements and then handle questions from the audience. This
is one of those situations where, just as last time, the success of the
conference is as dependent on the audience as on the panelists. Audience and
panel interaction was superb for all panel discussions. Any of them could have
easily gone on for much longer. From here on my reporting will be less
structured. I'm only paraphrasing so you can get the idea of how the
conference went. I'm not going to guarantee the accuracy, only the essence.
For that reason, I'm not going to say exactly who said what. There was much
friendly banter between the panelists and the audience. Lots of humorous
moments and friendly interaction that I just can't capture here.
By the way, there were contradictions this time. For example, you pretty much
expect DJs to encourage you to send tapes all over the place and let lots of
people listen. And, you have to expect attorneys to tell you to be careful
about where you send it so it doesn't get stolen. I'm not going to pass
judgement and will just leave that up to you. If you do a comparison of this
review and the last you'll find some similarities and a lot of differences.
That's because the folks that put this conference together are not only really
in touch, they are also making a real effort to make each conference different
and valuable. I applaud their efforts and feel they are continuing in making
the Music Conferences "must" events for New England musicians.
COMPUTERS & MUSIC
-----------------
Bob Calcagni - Boston Computer Society
Steve Peha - Boston Computer Society
Dave Frangioni - Audio One
Joe Pet - In House Productions
The main point of this panel was to introduce MIDI as a good thing along with
some of the other technological changes going on. In the future expect to see
small production units sign up talent and shop for labels. This is because
the costs of multi-tracking are going down significantly. (As an example,
we're now seeing the Alesis digital 8-track selling for $3995.) Lots of groups
will be self-contained and do all of their own production at low cost. Small
studios are taking business away from large studios. More aggressive, taking
advantage of new technology. But, the really good studios don't need to worry.
It's the "mid-range" studios that are more upset. Hard to sympathize with
studios griping about losing business when they replaced drummers with drum
machines ...
Be creative about where your music can be used. Children's theater, museum
walking tours, planetariums, places that tend to be taken for granted. Music
for airports, industry, marketing, corporate relations, and so forth may
provide opportunity. Talk to people you know to see who needs music.
DCC is coming. Not as good as CD but better than analog cassette. Sony may
sell a DAT now for about $500 or so that you can use and there are other cheap
DAT units coming out. Copy coding can be stripped out in the studio, so don't
worry about that. Sample rates can be a problem.
How do you apply technology in the studio without losing live feel? Remember
that this stuff is intended to enhance the music, not replace feel. It should
fit into how YOU make music. It's as individual as the people who use it.
This stuff takes lots of time to learn. Find people who know this stuff and
couple up with them. There's too little time for you to just pick up a manual
and read it.
Speinding too much time with the technology can interfere with your song
writing. You have to draw the line somewhere. Work on a piece for a while and
then let it cook for a while. Come back to it later. Set goals and stick to
dates to force yourself to get things done.
What perparation do you need before going to the studio? Come in with it
already sequenced and arranged. Mixing and all can be done in the studio.
Have it sequenced before you go in. Don't use studio time for sequencing.
You can get started in MIDI for less than the cost of a car. It's getting
cheaper all the time.
Where can you go to get a basic intro to computers and MIDI? What does the
Boston Computer Society have? The Music and Computer Group of the BCS meets
the first Tuesday of every month in Kendall Square. You can get help there
on computers and MIDI. Their number is (617) 252-0600. They offer lots of
seminars from free to about $25 or so. It's also a good way to meet people and
make contacts. Audio One and others offer technical consulting. NEP will
soon offer a MIDI seminar. The Boston Center for Adult Education (and other
similar centers) usually offer 8-week courses and such for pretty cheap.
Also, see magazines such as Keyboard, Electronic Musician and Home & Studio
Recording. Major newstands are good sources for these. And, stores such as
E.U. Wurlitzer's can be good sources of technical advice.
How can a 3-piece band get started in sequencing? You can't unless you start
using MIDI equipment. It's possible to hook up a mike to get a spike voltage
for use in the studio on tape, using MIDI to generate a particular sound.
Can also get started with a computer and sequencing software or with a hardware
sequencer (like the Roland MC50).
Guitar controllers just aren't cutting it. We need to remember that a guitar
controller is just another instrument rather than a guitar replacement. Wind
controllers "are a gas". Good way to add aftertouch control for cheap. $29
can get you a cheapie wind controller from Casio. May be easier than adding
keyboard aftertouch. Akai EBI electronic trumpet is also an interesting piece
of gear.
What's the bottom line stuff to get for a studio? One option is to get a Mac
with sample cells. Then, you can sample off of CDs to get any sound you want.
A Mac II can be had for under $2000. 1/2" VCR is okay for doing videos. You
can spend lots more. But, all you really need is a way to sync to MIDI as
with Video Time Piece from MOTU (around $400). You can do pretty sophisticated
stuff for cheap. Pro-video stuff can be done at a studio facility.
That was the end of this seminar. Dan and I went out to the display area.
Gave out demo tapes, scarfed up free stuff, shmoozed and ran back to our seats.
GETTING PLAYED ON THE RADIO
---------------------------
Joanne Forgit - National Association of College Broadcasters
Rob Stevens - Critique BMJ Record Company
Jay Brooks - WDJM Framingam College
Steve Becker - WCGY Program Director
Carmelita - WAAF
Rick Newman - B106 in New Hampshire
Harvey Wharfield - WCGY
JoJo Gun - WBIV (1060 AM - yes! AM!)
(Now, this panel had a lot of sparkle. It got started just as the heat from the
last panel seemed to cool off just a bit. This conference generated lots of
sparks!)
You need a manager that understands the business. First, you need to get local
play. Radio stations need to set up local play shows and many do. Next, you
need a good manager. Radio has to make ratings, which is why less local is
played. Radio needs to strike a balance between the two. Try to get on local
music showcases and college stations. Try to get a good manager. It's tough
and takes time.
College radio doesn't have to worry about ratings. WDJM committed to local
scenes. Plays cassettes straight, without going to cartridges. But, it is
hard to queue up a cassette ...
See if your tunes fit with a particular radio station. Push on a station where
there is a fit. You have to find a person in your target station to help you
get your tune into rotation. Book into a club that is in the area of the
target station.
For college radio, each stations tends to have local. They like to play local
bands and take some credit for their success. A Music Director will follow
"whims" and you can get into rotation if he or she likes your stuff. Send
a self-addressed, stamped envolope or postcard to get feedback. You may not be
able to call the MD directly, but you do need to make follow-up phone calls.
Make it as easy as possible for them to respond to you.
WAAF has a local show. It runs loke a college show. Not just hard rock, it's
local music. Every style can be played, though not all of it "sinks in". Most
commercial stations don't play local. There's so much national stuff that's
pushed. Send music to the local music director. Don't send it to the
Program Director. It may not get to the local music director. Lots of
stations love DAT. Different stations accept different formats. WAAF takes
reel to reel, not cassette (loses high end), not DAT (no player). Check first
to see what formats are accepted. Easier to play CD, but whatever is the best
quality format is preferred since sometimes a reel to reel version can sound
better than the CD version. Some DJs say "send 1 song". Some prefer to pick
from no more than 2 or 3 songs.
Make sure you send in high-quality tapes. Include good promo material, photos,
history, something to talk about, be different, have something ready. Be
professional, unique, but not crazy. Have high-quality stuff. Have one
spokesperson that represents the band. Be prepared for an interview at all
times. Will play whatever it is if it's good quality local music on Sunday
midnight's "Unsigned Heroes" show. B106 in NH will accept reel to reel or CD,
not DAT. Cassettes do not sound as good since they don't transfer well.
Call (603) 889-2106.
WCGY will transfer from cassette. Sometimes works, sometimes doesn't. About
25 pieces come per week for "Boston Music Showcase". All types. The easier
you make it to play, the more likely it will be played. Go with DAT if the
station wants it. Go with college radio as the way to commercial stations.
The National Association of College Broadcasters has listings of college radio
and TV stations. These guys come to NACB and they keep up with what's going
on. CMJ is for individual stations. Listings from NACB cost and you can order
them (for regions or national). Call NACB at (401) 863-2225 for more
information.
Album Network has "Yellow Pages of Rock" which has all the numbers you need to
know. Costs about $100. Managers should have a copy. Call (818) 955-4000 for
more information.
College stations get as much or more music than commercial stations. They tend
to pick records or CDs because they're easy to get on the air. Fun colors on
vinyl get attention. Music directors sometimes change week to week. Call in
and see about coming in for an interview. Sometimes they get 30 to 40 per
week. Mark it for the "local" department or it may get lost. CD's are easier
to listen to (easier to fast-forward) so someone may be MORE prone to give it a
listen. Big thing is time. It's hard to listen and pick. CD's tend to be
chosen first because they are fast to preview. Vinyl is the same way. You
can send tapes "blind" or get on the phone! Save yourself heartache by using
the phone.
1060 AM has a local show. Not just heavy metal or rock. Tries to get bands
on. Will take tapes. If it's great, will play it. Not too picky. Know's
record companies. They are out there in clubs. Local show is Saturday from
midnight to 3 AM. Make tapes. Send them to everyone. Don't give up.
Walden 1120 does folk and new age. They may also have a local show.
It's not the station. It's the people that give the station personality.
Establish a relationship with the person you're sending the tape to. Don't
give up. Same goes for record companies.
We're street people. If we have a night off, we'll go to a club. If we get a
tape, maybe 5 people will pass it around in a month. Send something else if
the folks that get your demo don't like it. Cassettes can be good for someone
who travels a lot. Good local reaction will cause us to go out and see the
band. Have manager do legwork for you. It can take a long time to build
support.
Good music can come to us from anywhere. We don't care. Be persistent. We
signed "The Cliffs" who had a manager and a package. But, we had already seen
them locally and knew who they were.
"Boston Music Showcase" is request-driven. Local bands are getting anyone they
can to request.
Not all shows are request-driven.
Local shows are all different. There are lots of outlets for what you are
producing.
We listen to each others' shows. It's a good way of monitoring and an easy way
to keep up.
Get your name out there. Get your friends to call. Get the people in the club
to call. We have to market ourselves. You do, too. Talk to people to see how
they do it. Ask questions.
Many stations have have music directors for particular niches. Heavy, folk,
jazz, new age, and so forth. Small guys have lots to say for their own shows.
Stations have their own formats for blocks. Local shows should play it all.
Sell your band as a band. Don't typecast. If it's good, it belongs on a local
show. Local shows can play anything, not just local. They can mix it up.
Not all college stations pay attention to reviews but may pay attention to CMJ.
You have to do everything. The more people aware of your music, the better ...
even if they hate it.
TAPE CRITIQUES
--------------
Joe Viglione - Producer
Dave Vaught - Producer/Manager
Jon Macey - Producer/Songwriter
This panel was lead by Joe V and critiqued tapes. For those who don't know,
Joe is another one of the real heroes in getting the Boston scene going. Not
to exclude anybody. There were many such folks supporting the conference.
There were several tapes reviewed that were submitted by members of the
audience. Styles included hard rock, southern rock, heavy metal, mainstream
and so forth. Even included a submission from a conference participant that
had come up from Kentucky!
The basic format was to all or part of a track and then to have the panel
comment on it. A spokesperson for the band that did it was up there to
comment. The question they had to answer was basically, "What do you want to
do with music?" I'm sorry that I can't really do the interaction with the
panelists, bands and audience. It was very friendly, objective and upbeat.
Highlights for me including hearing a track from fellow Deccie Peter Cook's
band Mystic Powers. And, a track from my latest album got reviewed ("Hot Oil"
from "Tantara"). I think that you, Gentle Reader, can expect to hear some of
these on future BMS shows. Some of these tunes have been on the show already.
(BMS airs every Sunday night from 6 PM to 10 PM on 93.7 WCGY. Harvey
Wharfield runs it. May 3 was his birthday and he got surprised on the air.
Happy birthday, Harvey!) There was also an interesting tape that was done by
overdubbing and bouncing using just two stereo decks and a mixer. It was a
reminder that it's not just the equipment you have but how you use it.
The basic message was that there's lots of stuff out there. You will get a lot
of rejection, but keep trying anyway.
THE MECHANICS OF GETTING A RECORD DEAL
--------------------------------------
Nick Ferrera - Atlantic Records
Lorain Levy - Cherry Lane Productions
Frank Cihler - Attorney
Steve Berger - Attorney
My buddy Dan and I were in need of sustenance from the four food groups (sugar,
salt, fat and carbohydrates) so we dashed over to the sandwich shop next door
and ate in the car. We think we had some sort of beef. We were late getting
back to the next session, so my notes are missing the first few minutes. Since
we put our trash all over our seats we had a place to sit even though this
session, like previous sessions, was pretty much standing room only. Good
thing it was so good or the audience may not have responded so well to our
rudeness ...
We try to find talent that's "ready to go". We do perform functions to cover
for weak management and so forth. We commit resources to develop and guide
artists. We are music people. Bands sometimes get advances to do what they
need to do. Everybody does things differently. There are really no "rules"
here. We help develop and record so a deal can be struck.
A publisher can help a songwriter by spotting weaknesses and helping
networking. Some publishing companies will "plug" a song. Some say they do,
but don't really. Find out who their clients are and see how they are
supported. Check with your manager or attorney to see how good a publisher
really is. Get the "right" publisher for you. Toss solicitations from
publishers, as a rule. Publishers are generally not sending out that kind of
stuff. Establish a relationship and work personally with a publisher. Be
careful about sending tapes all over the place. Do you have the money to fight
a copyright violation?
Check with your peers. Who is credible as a publisher, lawyer or manager? Be
careful about who is pitching your tape. You have to believe in the person.
This is the first step to getting a record deal.
Ask your lawyer who they work for. Ask questions. Don't close your eyes.
You'll bang into doors. Interview the manager or lawyer to see if it's a good
fit. Sources for these include, "Yellow Pages of Rock and Roll" from the Album
Network and the Recording Industry Songbook (available from the Mix Magazine
folks). Alain Seigel's book, "Breaking Into the Music Business" (Simon and
Shuster) is basic stuff for music attorneys. Start with the basics to be
informed. Then seek help. "This Business Called Music" is a bit dated, but
is also a good how-to.
I have to totally believe in music from, say, a tape. It has to be something
I get excited about and that I think a publisher will also get excited about
in terms of getting a record deal. You can't afford what I need to charge for
my time. But, if I work for you I will generally take some percentage of the
take. I get about 100 tapes a month. If it's good, I'll contact you
immediately. I look for a good image. Press is important in getting your name
out there. Send a photo and relevant press.
It's not that I don't want to hear unsolicited tapes. It's that if it's
someone that I don't know it's just not possible for me to find time in the
day. You need a good attorney or manager to reach me. There are no set rules
in this business. I don't know anyone that's an overnight sensation. Years go
by before you get the recognition you want. There are no short cuts. I talk
to promoters and booking agents. If they say a band is selling out, I'm
interested. If a band is being heavily requested and hitting the charts, we'll
go for it. Playing in clubs, getting airplay - how does that happen? When it
does it gets our attention. The problem with rock bands is they have to tour
if they want me to see them. It's important that you step out of the studio.
Touring is important. There is no substitute for it. It's a fluke when people
are successful without touring.
In your collection of songs there need to be 2 or 3 songs that really stand
out. No rules about the total number of songs you need. Competition is stiff.
You need a drop dead song to get attention nowadays. Some material is filler.
On albums you need killer songs all the way through. You can't be objective
about your own stuff. You need to have others hear it and respond. I don't
know of many stolen music cases. Let other people critique your songs.
I'm not interested in a band that was "shopped" by someone else. Be careful of
who represents you. Limit your representatives to one. Too many people
"shopping" for you leads to conflict as they knock on the same doors.
I don't treat solo artists differently from groups. All packages are treated
case by case. Send a tape with your best 4 or 5 songs. Doesn't have to all
fit in the same genre. No set rules. 1st song should be the best, 2nd second
best and so forth. I look to be blown away by the 1st song. I want the best
quality tape I can get. It gives the best shot at selling to a publisher.
8-track can be good. It all depends on how it sounds. It's going to be
quality versus finances. But, overproduction can cause you to lose the value
of your songwriting.
You get one bite at the apple. You have to take your best shot. If they're
not good, I only listen to a band once. There comes a point when you know you
can't help a band. But, when you're ready to go to bat, give it your best
shot.
Sometimes I just do legal work. Otehr times, I'm the chief cook and bottle
washer. Some lawyers do a poor job and can hurt a band. It's difficult
working with bands that have been "shopped" before. For them, I may need to
work on an hourly basis if I don't believe in them.
Be careful about who you enter into agreements with. Much litigation involves
someone from the past that was unsuccessful in working with the artist.
Sometimes I spot a bad mix. It's a producer's tape and we do a remix on it.
It's very difficult to get your foot in the door with A&R (referring to getting
work inside an A&R company). Most people that work in A&R have worked with a
famous band or something. You have to have done something that stands out.
(Ah, my wife just walked in while I'm typing. My 6-year old just asked her how
seeds get into mommy's tummy to make a baby. "Gee, sorry dear, I'm busy just
now ..." See the sacrifices I'm making in getting you this report?)
RECORD PRODUCTION
-----------------
Jeannie Deva - The Voice Studio, Vocal Coach
Joe Pet - In House Productions
Hirsh Gardner - Producer (D.J.M. Pro Audio Systems)
John Fannon - Producer
"Getting back into the creative side of things ..." The purpose of this panel
is to discuss how to get good stuff on tape. Jeannie moderated.
Record companies are looking for completely developed product. Producers can
get involved with you now. They can cut 3 to 4 years off your development
time.
I'm there to provide a service and be artistic with you at your rehearsal.
I'll take notes. I may tell you things you don't want to hear. Too bad. It's
an unforgiving business. It'll cost $500K to develop a band. Publishers are
looking out for number one. The producer needs to stick to honest truth so you
can get a record deal.
It's important that you put faith and trust into a producer. He's the fresh
set of ears. He can help you get excellent results and possibly major deals.
Most bands don't do enough pre-production before going to the studio. Vocal
arrangements, rehearsals and such. Producers (independent of engineers) can
help you get ready for the studio, help you learn how to work with your
microphone, how to get a good headphone mix. This needs to be done before you
go to the studio.
Pre-production: Put together tracks. Get basic idea for the tune. Work with
artists to figure out how to do a song best.
Pre-production: Shows what needs to be worked on first, such as vocalists.
See what they can do in the studio. Try to keep costs of recording down.
Might do chorus first, then bridge, then verses last to see how the singer will
do. May have drummer play to click track to see how it will go. May take 3 or
4 months to train a drummer to play with a click track. Guitar players might
be tested to see how overdubbing will work for rhythm guitar.
Pre-production: Throw egos out the door. Work on arranging and songwriting.
Important to have strong material. If there's only one strong singer, he does
all the vocals. Make it sound as good as possible. Much creating can be done
in the studio. Can do it all in the studio. The album "Hysteria" took $5M
to do it all in the studio, so it is expensive if you do it that way.
Arranging depends on the type of song. Have variations in tempo and style
for a balanced album. Sometimes a song can be released, flop, be rearranged
and be a hit. Arrangement is critical.
Arrangement can be structure. verse-chorus-verse ... If the flow is good, no
problem. Otherwise, I'll make comments. A second aspect involves tempo, feel
and so forth. Arrangement can be live or studio. Sometimes it's good to
layer vocals an octave up and an octave down in the studio. But, this might
not work live.
Production should be give and take. Your favorite groups probably have
producers. It's what can make the difference. Be diplomatic. You need mutual
respect to make it successful. You try to make good music. Live is forgiving.
In the studio you can use "canned" vocals. Okay as long as the group is still
singing. Sometimes you have to let go of the idea that the producer is going
to change what you do. Sometimes he'll make what you do better. He's another
member of the team. First priority is to make a great record.
"Studio session vocal coaching" - give vocalists tips on how to handle problems
spots, get them comfortable. Vocals need to be in tune and done without
straining. Lessons can help you grow so much as an artist. It carries into
the live performance.
(tape reviews as part of this panel discussion)
(These are general comments that seemed helpful with respect to tapes that
were reviewed. This was sort of a continuation of the tape reviews started
before.)
Include a lyric sheet in your album if vocals don't come out well. EQ that is
bottom-heavy on vocals can muddy things up. Some vocals need to have "an
attitude". Watch for boomy basses. Hooks need to be clear and up front.
Chorus needs to be definite. Needs changes to keep interest. Make "editted
radio versions": no long intros, keep short. Biggest thing in song is the
hook. Careful about which song is first on a demo tape. Lyrics need to be
expressive. Intimate songs - productions techniques can make vocals more
separated and deep, more intimate feelings.
(end of the tape review section)
If you can't get a producer, drop the egos. Rely on criticism of others. No
democracy, but be diplomatic. Use those that are best at what they do. Don't
wear out the vocalists in long sessions. Do the mix later. Get singers in
when they are fresh. Headset mix: make or break for singer. If you can't
hear yourself right in the headset mix, you won't sing the way you usually do.
Don't send dry voice or EQ'd voice to the headset. Get it right with the
engineer. Have lyric sheet in the control room with someone you trust that
takes notes of what happens and when (for punch-ins). Have vocalists prepare
by using a 4-track with mic and headphones and record vocals. Do it every day.
Slip one phone off the ear and sing along if you have to. Sing and record
all the time.
(more tape reviews)
Good to start with vocals then bring instruments in. Pitch needs to be right
on. Don't close into "R" sounds too fast. Don't drop ends of phrases off
unintentionally. Should be emotional reason for cutoffs of phrases.
(end of tape reviews)
If the public doesn't like what you're doing, it doesn't matter how good the
production is. If you feel you have done the best you can come up with, go
with it.
BOOKING & MANAGEMENT
--------------------
Charlie McKenzie - manager (former manager of Boston)
Jim Holmwood - road manager (DJ Hazard, Maynard Fergusen)
Dana MacDonald - The Tam, Booking & Promotion
Bob Duteau - Tea Party Concerts, Booking & Promotion
Barb Moran - Gino's, Portland, Maine
Jim Tarabassi - Rolling Thunder Management (Bad Finger, Foghat)
Some prefer to deal directly with a band rather than with their manager. If
you book yourself, do it through a band spokesperson. If you can't afford it,
you don't need pro management. But, if you are so busy you can't do it, get a
manager.
If your fans want to support your band, have them spend money at the club. Buy
drinks or sodas, for example.
Bands can get exposure by "opening" for a "headliner" act. Domino effect if
you're good. We look for acts that will bring people in. It's important for a
band to bring people in. You have to hustle and get people into the club.
Booking and promotion companies are talent buyers. Commissions come usually
from the club and sometimes from the band.
Opener acts need to make musical sense with the headliner act. The more you
play in front of people, the better you get. Not the same as playing in the
studio. Do the little clubs first. Don't pass up opportunities to open for
big acts. In a big place, go ahead and start with Tuesday and work up to
better nights. New bands need to line up their friends for support. If you
play your areas on weekends, it will be hard to get them to some in other
nights. Can be tough. Might try Thursday at a bigger club.
Some people are "paying dues" on Tuesday and Wednesday. Be sensitive to
getting a good night the first time. Bands are evaluated not just by people
numbers, but also by how they are entertained. Tuesday can be a kind of
"college band" night, so it's not all bad.
The "short cuts" are to get local airplay and to win over fans by getting out
there, playing for people and hustling. The politics of rock and roll is a
reality. People support the people they like. Get out there, get played, get
exposure.
There are no "short cuts", but there is a luck factor. You have to pay dues
and get ready. If you get airplay and they like your song, people will come to
see you. But, you need to be ready. How may years did Bonnie Raitt play
before she hit it big? It was ignored talent all those years. Keep at it.
The world will know you're good eventually (if you are).
If you can deliver 300 people on a given night, these folks are interested.
But, you have to deliver or you won't get a call back.
I don't do cover bands. If you can do a 50-minute set, I'll put you with
another band to make an evening.
I go out and see bands at other places.
I don't understand why bands play clubs that are so close, sometimes within
blocks, of each other. Bands need to play at places that are more distanced.
You need to go after different audiences. Too close and you can get burnout of
your audience. There are different places to play. Picnics (for
corporations), high schools, colleges, out in the open and so forth.
You have to make it an event for friends to come out. Not just another gig.
Musicians need to watch for burnout. Tease them. Create some demand. Bands
booked too close together overplays the market, makes it not special.
If you want to be bigger, you have to break into new markets.
Opening with 3 shows to become headline is pretty good. They'll be headlines,
but they won't be booked all the time so that they stay special. If you want
to get scheduled and are starting out, send a tape. I've got to put it into a
category to know who it will go well with. Send photos, promos and such.
Blast the area with your posters.
Comedy and music, call first to see if they'll accept a tape. 5 days later,
see if they got it. Call every 6 days to see if they heard it yet. Be
persistent.
I prefer a studio tape.
Call first to get preference for live or studio.
Focus on sound, not packaging.
I get 50-100 tapes a week. Some weeks 2. How can I deal with it? What leads
one to listen to the tape is the packaging and marketing. Need to have the
average club goer look at this and say, "This looks good." It's got to be done
right. The clubs rely on bands bringing in friends and bands that look good to
attract club goers.
If they're professional sometimes you can tell by the packaging.
Our primary job is promoting concerts. We're long-term players. We're looking
for the acts that can fill Friday and Saturday nights. Be fun and easy to work
with. Say "thank you" when you are given opportunities.
It's rude when people get up and go after their band plays. They need to be
encouraged to stay for the second set. Good to let the bands intermingle.
I try to get the bands to know each other, to encourage mutual support. Things
tend to get booked a couple of months in advance. New bands tend to be built
up over the week to get them to the weekend.
Comment from the audience: When you send out a flyer about your band gigging
at a place, let people know about the other bands there. Cooperate. Are you
afraid of the competition?
Sometimes two bands will even jam together. Sometimes only one act is booked
and I'll ask the band for another band to complete the evening.
"Battle of the Bands" is great for younger musicians. Not really what older
bands want. They want to play the circuit.
"Pay to Play" ticks everybody off and is short-term. You've got to think
long-term. It may be necessary where the club can't make money on drinks.
You've got to "do something" before you "are something". Bribe people to come
in if you have to. Do what it takes to get your foot in the door. You've got
to start somewhere.
If you think you're ready for management, go to a band you respect and see
about using their manager. It's a personal bond that needs to be real. Check
your manager out. Be careful. At higher levels, people are nice, but they are
very direct because they are very busy. A manager can buffer you against that.
A manager can help you set a direction for your career. He should help you get
some airplay in your next market.
Personal manager: Manager that looks out for your career.
Agent: Will book the gigs and the concerts. They work for a commission. Not
loyal to your career.
Commission is negotiable. Industry average is about 15 to 20%. Depends.
Personal manager takes percentage of your income, whatever it is.
To get a manager interested, you can get a great tape. Or, you can do "grass
roots" to get a buzz going. Managers chase the bands making the charts. Ask
yourself, "What do people want?" Be careful if a manager approaches you.
Needs to be a close, personal relationship.
All-age shows don't work well. Have to close the bar. Changes from being an
"adult playground." Not good for revenue. Sometimes will do benefits or other
unique events. Concept shows are okay. Have record release parties. Charity,
April Fool's, birthdays, slam dance parties.
IN CLOSING
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It's rare that you go to an event where folks are pumped the whole time. It
was getting later in the evening by the time we wandered out. It was cozy and
comfortable. It was fun to meet people that you read about or hear about.
A lot of networking was going on that seemed so natural and exciting. Everyone
seemed to be pretty tired at the end and satisfied.
Fall Music Conference will be October 25th at the Vista. As before, when the
time rolls around I plan on posting an invite in the network and getting folks
in at the group rate. See you there!
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