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Music

Vito Bratta – Eddie Trunk Interview – 17 February 2007

VITO BRATTA – so the record company’s saying we need another Pride.  I say, Ok, so what exactly does that mean?  The label goes we need the hit singles… I go listen the songs we gave you, on “Pride” weren’t hit singles written purposely to be to be hit singles. They were just songs that became hit singles and they were just songs we wrote.  Now you’ve got somebody telling you now you have to purposely write a hit single.  Now how do you do that?  How do you purposely write a hit single, I mean there are people out there that do that…

Vito was a songwriter who created songs that he wanted to create.  That is why the music sounded magical.  I always hated it, when a band’s creativity was stifled or chained just so that the labels can chase dollars, and by doing that the labels end up losing because the band becomes lost.  If a band becomes lost, the audience will know.  In the seventies, the bands did what they wanted.  The labels were scared to say anything to the artists.  Then the artists got rich, joined with Wall Street bankers and everything changed.

VITO BRATTA – “Big Game” was a setback for the Label.  It didn’t sell as many.   We were doing a headlining tour of Europe by ourselves for the Big Game album and they (the Label) said wouldn’t it be great if we played at Wembley with Motley Crue and Skid Row? 

Skid Row went on and they were just killing the place.  And Motley Crue had a great show and here we are sandwiched in between.

We realized, that night, on stage at Wembley that these songs from the Big Game album aren’t translating well in the live show because when you’ve got tens of thousands of angry British rockers out in the audience and if you don’t have a certain type of music; it just wasn’t working.  So we all looked at each other on stage and said we need to throw in some of our better stuff in here.  I was like what better stuff.  We need to write more for who we are because these songs are not translating.  

Then we went back to the States and we told the record label, no more tours on this album.  We are going to do the album that we want to do.  And they said well considering how the last album went, they said “go ahead”.  They gave us unlimited funds.  Mane Attraction was a half a million dollar record.  They just said go and do everything that you want.  Now the problem was that by the time it came out, that whole scene was over with.  

A half a million dollar record, and once it came out, it was over in 4 months.  These days you can record an album for 10,000.  Then again why would you.  Just record your best songs and release more frequently.  White Lion where missing for 18 months from the music business.  It was the worst decision ever made.

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Classic Songs to Be Discovered, Music

Motley Crue – 1994 – Power To The Music, Hooligan’s Holiday, Misunderstood – John Corabi Era – Part 1

They should have changed the name.  Called the band Hammered or S M C L or Wild Side or something like that.  It’s another Bob Rock production.  He does an awesome job (lets just forget St Anger) at getting / capturing the bands at their best.  He even demanded that Lars take drum lessons before recording his drums for the Black album and for James to take singing lessons before doing the vocals for the ballads.

Gerri Miller was Metal Edge to me.  She was on every story or on every interview that mattered.  The below excerpts are taken from Metal Edge circa 1994.

“POWER TO THE MUSIC”
Groove-laden and funk-edged, this album opener started out as a repetitive detuned riff  dreamed up by Nikki,  and “pushed John [Corabi] to the limit vocally. We were going, ‘Push your throat till it blows out.’ He never sang like that before.” 

Hey, listen people, we’re victimized, circumcised, crossed the line of no return.
The critics say we devastate, socialites just masturbate.
Won’t the losers ever learn?
Who said the music’s dead in the streets?
Don’t know what they talk about.
They gotta put a bullet in my head if they want to keep me down.
Let me hear it.

This came out at a time where the airwaves were ruled by Grunge.  You can tell the band is angry.  The song is heavy.  It’s got groove.  You can feel the anger.

Who said the MUSIC’s dead in the streets?  Rock music was alive and well.  Just because the labels abandoned it, it didn’t mean that the audience abandoned it.  For the labels to kill rock and metal, they had to put a bullet in the head of every fan.

Mothers tell their sons of cyanide and suicide,
Blame it on the devil’s tongue,
Suck me like a parasite, military 3rd Reich.
Blood burning bastards wasting blood.
Who said the music’s dead in the streets?
Don’t know what they talk about.
I want my music waking up the dead.
Don’t tell me to turn it down
Turn it down.

I love the lyrics in this verse.  This is a grown up Motley Crue.  A pissed off one.  Telling the  3rd Reich label heads to suck em off.  If you are a fan of The Scream, you can hear John Corabi’s influence all over this song.  He wasn’t just a fill in, he was a contributor. He got the raw end of the deal, blamed for the fall of Motley Crue.  He made them relevant.

“HOOLIGAN’S HOLIDAY”

The kick ass kickoff single went through a major metamorphosis from what it was originally. Initially a demo sort of like ‘Highway Star ” recorded by Nikki and John at Nikki’s house.  It was brought to the table, “but everyone was not too high on it.” Their attention turned to other tunes, “but we felt strong about it. We had agreed we’d try anything anyone wants to try. We totally rewrote it—only the chorus and title are the same.” It took just two hours to record, and the results “f.ckin’ floored” Nikki. “It’s amazing what you can get out when everyone’s putting in 100%,” he notes. ‘The song no one wanted to try became the first track. Shows you gotta try everything.” As for the title, the phrase came from a broadcast during the L.A. riots: “It’s a hooligan’s holiday out there.” Nikki then made a correlation to an Aerosmith title. “If they’re on a permanent vacation, we’re on a hooligan’s holiday,” he says. “It’s not a very serious song.” Three other versions exist. One is shortened, for radio, “which we hated doing so we called it 4Brown Nose’ version. It’s us laughing at ourselves.” There’s an 11 minute extended version and a seven minute  “Derelict Vision” club mix by Skinny Puppy, with a companion video version too graphic
for TV.  

The “Hooligan’s Holiday” video, based on tho movie A Clockwork Orange, features performance sequences and scenes showing Nikki and Tommy dressed as Teddy Boys, a type of hooligan in London in the late 1950s. 

Drop dead beauties stompin’ up a storm, lines of hell on our face.
Bruised bad apples crawling through the night, busted loose, runaway, oo, runaway.

Everybody wants a piece of the action.
Everybody wants a piece of the pie.

Cross-eyed derelicts comin’, iron horse between our legs.
Tattoos, black manes flowin’. Everyday’s a holidays.

It’s a riot.  It’s a free for all.  The wronged (the bruised  bad apples) are rising up.  Its angry.  The injustice.  I feel like i am at rock concert, where the crowd loses control.  I like the reference to Piece of Your Action and Slice of Your Pie.

“MISUNDERSTOOD”

A 40 piece orchestra flavors this killer combination of beautiful melodic acoustic music and blistering rock, the oldest song on the album, ‘it’s my way of looking at life,” says Nikki. ‘People often say life’s misunderstood them. I always thought. That’s bullshit.’ It’s up to you to live life to its fullest. You have to go for it as much as you can.” Song lyrics like Doin’ time in a broken home” and “I’m an angry man, always had to fight to survive my past” are taken from Nikki’s own experience. “I think it’s relatable to fans—we’ve all gone through that with parents. It’s a deep song,” he says. It has a lot of abusive notes in it. It’s not a happy song.” The orchestra’s involvement was planned from the outset.
They hired a conductor, who worked on arrangements.

Little old man contemplates suicide twice a day
Life’s passed him by
Little old woman scared and blind, left alone in desperate times
Life’s passed her by

Little boy with vacant eyes, daddy won’t be home tonight
And he don’t know why
His mother, she sits alone tangled in the web she’s sewn
Lives lie to lie

This is Motley Crue reincarnating itself as Led Zeppelin.  It’s an epic song and its a grand statement.  They could have went with the pop format but they went with their instincts, their gut feeling and this is the product.  The acoustic verses and then the drums kick in references Stairway To heaven.  The behind the beat drumming references Kashmir.  Good music is good music.  It doesn’t fit in any genre, and this is what the Motley Crue album did.  It started a new modern rock/metal genre.  It was way ahead of it’s time.

Power to The Music

Hooligan’s Holiday

Misunderstood

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A to Z of Making It, Music, My Stories

C.C. DeVille Guitar World – September 1989 and Persistence (Quitters Never Win and Winners Never Quit)

GW – What was the best piece of advice ever given to you as a guitar player?
“Be your own man,” which carries into every aspect of life. Listen to other people, but realize your opinion counts as well. There’s always someone to tell you how bad you are, but not always someone to tell you how good you are. So you have to depend on yourself not to quit. In the words of Body By Jake Steinfeld, “Quitters never win and winners never quit.” Remember, rock n roll was invented for people who can’t play regular music.

Learn from others, but never forget who you are.  Don’t let the haters win.  As pointed out by C.C. there will always be someone there to tell you how bad you are.  C.C. is a perfect example.  The Shrapnel Guitarist Elite dished him.  Why? It’s because he made to multi platinum status and they didn’t.  Rock N Roll was always meant for the outcasts, the ones that where not professional and did not practice 15 hours a day.

GW – What would you like your epitaph to read?
My epitaph would read: “Here lies the music worlds best kept secret.” When I go to bed at night I’m very hurt that people consider us a joke band. We concentrate on writing good pop songs, so I have to be careful not to overplay. I guess one of these days I’ll have to sink to the level of playing a “jack off” solo featuring hammer on pyrotechnics and flying whammy bars. Ain’t Nothing But A Good Time is a brilliant summer song with a good solo. It fits the song very well. That’s what I’m preoccupied with, rather than showing off.

It’s okay to show emotion, to feel hurt when people dish on you.  That is expected behaviour.  Pretending to be fine is fake behaviour.  The gospel is above, CONCENTRATE on writing good songs, play for the song, not for the hype.

GW – Pick the C.C. DeVille “Dead or Alive Dream Band” excluding members of Poison?
John Bonham on drums, obviously. Paul McCartney on bass, because he’d help me write some great songs. I’d live to hear Paul Rogers on vocals and Max Middleton from the old Jeff Beck Group on keys. Jeez, what a weird combination of people. You probably couldn’t even get a jam going, but somehow mentally it works for me.  To tell you the truth, I quit thinking about ultimate bands because synergy in rock is a strange thing. Superhero bands like Blind Faith and Asia never seem to work out. On the other hand you can put together several average musicians and create something special.  Hell we did our first album in 12 days!  It was raw, but there was a chemistry that people seemed to like, and that’s all that matters.

David Coverdale has played with a lot of musicians, but when John Sykes came into the picture, they created hard rock, blues rock / metal history with the Whitesnake 1987 album.  Coverdale then wrote Slip of The Tongue with Adrian Vanderberg and got Steve Vai to play it, however he never got the same magic, and within 18 months Whitesnake was no more.   That synergy is like lightning in a bottle.  The Beatles where four average musicians that created something special, Sabbath was the same, Deep Purple and the list goes on.  Ritchie Blackmore found that synergy again with Rainbow, however once Dio left it was all downhill from there.  You never know with whom you will have chemistry with.

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Classic Songs to Be Discovered, Music

Black Hearted Woman – Blue Murder

John Sykes could have followed the Whitesnake formula he established on the 1987 album with Blue Murder.  John Kalodner even pressured him to come up with Whitesnake style songs.  In the end Black Hearted Woman and Out of Love were delivered to appease Geffen Records.  Blue Murder was guitarist/vocalists John Sykes, bassist Tony Franklin (from the Firm) and drummer Carmine Appice (King Kobra, Jeff Beck).   

The album was produced by Bob Rock who would go on to greater glory with Motley Crue’s Dr Feelgood and Metallica’s Black album.  It was mixed by another Canadian in the super experienced Mike Fraser.  The album even has the following comments: WARNING!! THIS ALBUM HAS BEEN “FRAZZED”.

When I first heard the album, i was blown away.  This was an artist being creative and pushing his own boundaries.  There where no commercial pop singles to push on this album.

Black Hearted Woman has that Children of The Night/Aint Gonna Break My Heart Again vibe from the Whitesnake album.   The riffs are very similar.  It was written by the band.  It is perfect and sleazy.  The small lead break before the bridge is reminiscent to what Sykes did in the Cold Sweat solo break by Thin Lizzy.  He is referencing his past.  His influences.

Even the lyrics are classic Coverdale style lyrics.

When she walked in the room
I was drawn like a fool almost hypnotised
You made my heart beat, baby, like never before
Underneath her disguise I saw trouble and lies
But I walked right in
She said tonight I’m gonna make you push it
And that’s the score

The sad thing about all of this is that David Coverdale threatened to delay the follow-up to Whitesnake’s 1987 album if Geffen Records put cash behind Blue Murder.  It didn’t matter if John Kalodner was a big fan of John Sykes and that he organised his signing to Geffen Records.  Whitesnake was where the money was at the time, so David Geffen complied with Coverdale’s request.  The label failed to promote it and the album more or less disappeared.  

To be honest, David Coverdale hasn’t really released anything as good as the 1987 album and John Sykes hasn’t either.  The Blue Murder albums combined could rival the 1987 album.  Basically the two of them together, that was the magic.  Add Aynsley Dunbar on drums and Neil Murray on bass.  Rock Metal History.     

Hear Black Hearted Woman on vimeo.

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Classic Songs to Be Discovered, Music, My Stories

Thin Lizzy – Cold Sweat – Classic Song to be discovered

I am a big fan of John Sykes.  It was the Whitesnake 1987 album that had me converted.   It was very guitar heavy and I loved it.  I was dismayed when I found out he got fired from the band before the album was released.  I couldn’t even stand to watch Adrian Vandenberg and Vivian Campbell pose around like they where the creators of the music.

So I started to ask people about John Sykes and no one could answer me.  This is in 1988.  There was no Google.  There was no internet.  You had to find out this information by yourself.  I then picked up a magazine of Metal Edge and I saw the information I needed.  Metal Edge was sold in Australia for $10, so it was an expensive purchase.

The article spoke about John Sykes and his new band, Blue Murder.  It also mentioned his beginnings.  Tygers of Pan Tang and Thin Lizzy.

The record shop was next door to the newsagent.  I went in and of course in the hard rock / heavy metal section there was no Thin Lizzy album that had John Sykes playing on it.  Nor did it have any Tygers of Pan Tang.  Regardless I was on a mission to find out more.  That is how super fans are made.  We needed to know more about the artists we liked, so we went searching, we asked people, we spread their name.  I asked the lady at the counter if she can tell me what albums John Sykes played on with Thin Lizzy and Tygers of Pan Tang.  She gave me this look.  Was I speaking a different language apart from English.  I mentioned the album, Whitesnake.  I pulled it from the hard rock section to show her the guitarist.  She answered back, “who cares, he is only the guitarist.  He doesn’t even matter.”  Doesn’t matter.  I go to her, “what instrument makes music”.  She answers back “the guitar”.  Enough said.  I knew I was going to get anywhere with her.

Imagine my surprise when my cousin Mega called me to tell me he picked up Tygers Of Pan Tang – Spellbound and Thin Lizzy – Thunder and Lightning for me for $5 each from a second-hand record shop and that John Sykes plays on those albums.  I was on the train to Sydney (a 90 minute journey) in a heartbeat.

Cold Sweat.  It’s written by John Sykes and Phil Lynott.  It’s the only one on the album that has a John Sykes co-write.  The riff is heavy and sleazy.   Phil Lynott’s vocals reek of desperation.  It was like he really owed some money to a mafia style bookie.  The lead section from John Sykes, confirmed my suspicions.  He wasn’t plucked from out of nowhere by David Coverdale, he was paying his dues.    He nails so many different styles, and also makes it sound human.

Stone cold sober and stone cold sweat running down the back of my neck.  

The Thin Lizzy influence on John Sykes would re-surface in later years, especially the Phil Lynott style of lyric writing and vocal line delivery.  We All Fall Down from Blue Murder’s – Nothing But Trouble comes to mind immediately.

Here it now.  Revisit a classic song.

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A to Z of Making It, Music

Persistence Part 2

There is a recent Dear Guitar Hero article with Tommy Thayer in the Guitar World, May 2013 issue.  The interview was conducted by Brad Angle.

QUESTION: Is it true that you did manual labor tasks at Gene Simmons and Paul Stanley’s houses before becoming a member of Kiss? (Tony Ratoni)

ANSWER: Those are kind of urban myths.  Sure, I started working for those guys part time in the late Eighties, an my credo was that I’d do whatever needed to be done.  And a lot of times when you’re in those situations you do all kinds of things.  I think, somehow, through all the speculation on the internet, people started saying that i did all these strange jobs.  But nothing was strange.  I was just a go-getter that would do whatever task was at hand, which is normal if you wanna get somewhere in your life.  I’m proof that persistence works.  

So all you wannabe artists, are you prepared to persevere.  If you want to be rich, take up banking or get involved technology.  Hell, tech heads are the new rock stars.  They are the cool ones, the ones that people want to hang with as they are rolling in the cash.  If you want to be somebody in music, you need to persevere.  Tommy Thayer was a go-getter for Kiss.  Gene Simmons signed his band Black and Blue and produced two mediocre albums.  He even took one of the Black N Blue songs he co-wrote and called it Domino on Revenge with only himself as the writer.  Tommy Thayer then played the tribute circuit in a Kiss cover band.  This is a period now that is spanning from 84 to 2000.  In 2002 he made his debut as the new Spaceman for Kiss.  He didn’t quit.  He kept on making connections.  He kept at it.

There is a comment on the Persistence and the Meaning of making it post, where Robakers mentioned the persistence of Lars Ulrich in getting Metallica off the ground.  This is so true.  Everyone seems to forget that part of Lars.  He was once a kid, that built connections around the NWOBM music that he was interested in.  He surrounded himself with like minded people.  Eventually one of those people started a label.  Then they where doing a compilation album.  The rest is history.

These days, everyone remembers Lars as the guy that sued his own fans when Napster came on the scene.  That is because, Lars wanted to be part of the corporate elite.  Lars wanted to hang with the rich because he thought it was cool and the rich wanted to hang with Lars as they thought it was cool to hang with a rock star.  Instead of Lars being the stiff middle finger hero to his fans against the corporations, he became one of them.

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A to Z of Making It, Music

Nuno Bettencourt – Guitar World, September 1989

The article was written by Andrew Hearst, and it appeared on page 17 of the September 1989, Guitar World Issue.

“Be sincere.  Whatever you do.  If its Lawrence Welk you’re into or if its Eddie Van Halen, just be honest about it and love what you’re doing.”   Words of wisdom from Nuno Bettencourt, guitarist for Extreme, a Boston – based hard rock band whose self titled debut album was recently released on A&M Records.

A guitarist speaking his mind.  How many people speak their minds these days?  Not a lot, and if they do, they are scared of the haters.  Well guess what, if you seek the limelight, there will always be haters.  Remember, not everyone will love you, but your audience will.  If you love what you are doing, the audience will be able to feel it, they will be able to relate.  Your fans are not stupid, they will know if you are faking it.  Like when Def Leppard delivered Slang, or Motley Crue delivered Generation Swine, or Bon Jovi delivered What About Now or Metallica with Load and ReLoad.  We know that these albums are about chasing some fools gold, chasing an idea implanted in the musicians head by a manager, an agent or a producer.  That is why the people didn’t respond.

Extreme’s first album was produced by the super experienced Reinhold Mack, aka Mack.  His resume is a list of who’s who of classic albums.  Some of my all time favorite albums like Scorpions – Fly to the Rainbow, Deep Purple – Stormbringer, Deep Purple – Come Taste the Band, David Coverdale – White Snake and most of the ELO and Queen albums from 1975 to the mid 80’s had Mack involved, either as sound engineer or as a producer.

Born in Portugal 22 years ago, Bettencourt moved to Boston with his family when he was four.  As a freshman in high school he heard Edward Van Halen and was inspired to pick up the instrument.  Soon he was playing covers and originals in a succession of casual local groups; he calls Extreme his “first really serious band”.

Back in the eighties, bands normally were formed, they would chop and change musicians until within a few months a stable line up was confirmed.  It was expected that once you had a stable line up, you would start to play shows, build an audience and write killer songs.  By doing that, you are creating a buzz, and with that buzz, the good old Mr Record Man Gatekeeper, would come along and make you famous.  What no one told these poor suckers, is that the good old Mr Record Man Gatekeeper will also make them sign contracts that where far from fair for the band.   To put this into context, Extreme, were formed in 1985, signed in 1987, assigned to work with a master producer in Mack so that they develop their songs and sound and their first album hit the streets in 1989.  That is what bands expected in those days.

It doesn’t happen like this anymore.  Labels in the old sense do not exist.  They do not spend money on artist development anymore.  Why? Wall Street.  Labels need to answer to a board of directors and shareholders.  Their memo is to make money, not waste money on artist and development.  Remember Warner Music is going into business with Kickstarter.

“The biggest lack in eighties’ guitar playing is rhythm,” he says.  “There’s a whole other three minutes of a song to be enjoyed.  I love playing solos, but there’s a time and place for that.  There’s a whole other world out there to play with and people are missing it.”

Such balls.  Here is a new up and comer hot-shot guitarist and he is blasting 80’s guitar playing.  To be honest, he is not wrong.  I cannot list the amount of albums i purchased where the songs are lame as, however the guitar solo spot is a song within a song.  Keel is one band that comes to mind.  Yeah they had a few good songs on each album, however the rest of the songs where shite with good solo spots.  MacAlpine is another.  This was Tony’s attempt at having a vocal oriented band around his guitar playing.  The only problem is, you need to have the songs to make it work, not just the guitar solos.  He did it well with Project Driver (the supergroup featuring Rob Rock, Tommy Aldridge and Rudy Sarzo), however that was with more accomplished musicians.   Not a lot of people show balls these days.  We all want to be loved, even by the people who only like to hate.

Extreme headlined a scheduled 15 city club tour in April and May.  The group now hopes to land the opening spot on an arena tour.  “We just want a fair shake,” says Bettencourt.

That is what every band wanted back in the day.  Their careers where in the hands of the people who controlled them behind the scenes.  The label, the manager, the booking agent and so on.  They had to rely on all of the above to get a fair shake.  Seriously how fair was that shake to begin with.  All of the above mentioned people, take a generous cut from what the band makes.

These days, the fair shake is up to you.  You determine how high or how low your career goes.  You determine your definition of success.  Adam Duce got fired from Machine Head, because his heart wasn’t in it anymore.  His definition of success was different to what Robb Flynn’s was.  He felt like he toiled for over 25 years and still hadn’t made.  He wanted to be like Metallica.  But there is only one Metallica.  And since he wasn’t as famous as them, he didn’t see the point in continuing.

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Music

Dream Theater

Article at Loudwire

I will be up front here and say that Dream Theater is one of my favourite bands.  I thought i was pretty good guitarist and then i heard Erotomania from the Awake album.  I was dumbfounded.  Here in Australia, we were saturated with the grunge movement.  As a guitarist that meant no solos.  In all of this, you had Dream Theater.   Awake was my first introduction to them, and i quickly went back to Utopia Record Store at Clarence St and purchased Images and Words and When Dream and Day Unite.  That is how we did it back then.  You had to catch a bus, then a train, then walk a little bit, just to purchase music.

250,000 people voted.  This poll/vote contest could seem to be a silly exercise, however it is far from that.  Dream Theater found out that they where in the final, and they put it out there to their fans.  The fans responded.  They took time to go and vote.  That is the key.  Connections.  The DT fans felt enough of a connection with the band, to respond to their call to arms.  They beat Metallica, who makes them look like small fish when it comes to selling concert tickets.  

Dream Theater are in the midst of recording their next album.  They have an online presence.  They all use Twitter and Facebook.  They offer video updates, video interviews and whatever else they can offer.  They even hired Michael Brandvold to be their Internet marketer.  They do Guitar Clinics, Keyboard Clinics and Drum Clinics.  That is a face to face connection.

If the fans respond to the album the same way they responded to DT’s call to arms to vote, expect big things.

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A to Z of Making It, Music, My Stories

Persistence and the meaning of Making It

I just came back from a shopping experience with the wife and the kids.  You leave in the morning, happy, all together and as a family.  You come home, angry with each other, yelling at each other and wondering where did it all go wrong.

Does the above sound familiar to any bands out there?  How many rock stars have called the band they are in FAMILY?  Let me tell you.  That is complete B.S.  Bands are not families and never will be.

90% of the bands have one or two people working hard to get the band running.  In most cases, the songwriting is even done by the same one to two people.  All the organising comes from the same people.  For a while, this is cool, however it then comes to a point where it all explodes or implode’s (depending on which side of the line you are on).  Bands are dysfunctional.  Anyone that tells you differently is a liar.

The difference between a band/artist making it or not making it is persistence.  It could be the love of the music that keeps them going or it could be something else.

Now making it, to me has a different meaning to what others have it.  Making it is being able to live off your music/art.  It doesn’t mean that you are rich.  It doesn’t mean that you sell out arena’s.  It doesn’t mean that you are the mainstreams darling.  It means that you have found a niche, and that niche has found you, and you are in this ride together supporting each other.  You deliver music that the niche desires and the niche rewards you with the support that they desire.  You can make payments on loans and keep the lights on.

So if you are in a band (which to me, is a ridiculous idea if you are the main songwriter) and you expect to be famous like Bon Jovi.  Guess what, it aint going to happen.  The entry-level into music these days is zero.  The gatekeeper model of the past has lost its war with the internet.  Distribution was controlled by the Record Labels.  Not anymore.  Marketing before, was to over saturate the mainstream media outlets like radio, TV, magazines and newspapers with the hope that people will buy blind.  The majors still do this.  The Justin Timberlake 20/20 promotion is living proof, where I even saw his posters in a heavy metal section of a record shop.  Yeah, his album moved a million units in its first four weeks, however, will it have longevity, like Def Leppard’s Hysteria, Adele’s 21.

So what does this mean for you.  How do you get from Point A – starting out to Point Z – making it.

Persistence.  You can never reach Point Z if you quit.  You need to be on this road forever.  Once you are clear on that, you can start the journey.  The first part of the journey is building connections.  These connections are not built by promoting a song you have just released, or telling people you are writing this great song and you can’t wait for them to hear it.

Connections are built by life experiences.  Talk about a concert you went too and how did it make you feel.  Others that went to that concert could latch on.   Talk about your life experiences and pretty soon, hundreds of others will connect that have similar experiences.  That is the start.  Build on it.  Leave the music/art promoting out of it to begin with.

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A to Z of Making It, Music, My Stories

To be great means you need to be great 24/7

My kids played football today. They went done by five goals. Was the other team that better? It was only 2-1 at half time, I tell myself. All I can say is that the other team turned up to play.

It doesn’t matter how much talent a team has, if they don’t turn up to play on game day they will be made to look second grade.

So what do kids do when they start losing.

They become individual’s, team play goes out the window, and the bad day at the office degenerates into the worst day. Kids want to cry but they suck it in. They are embarrassed.

What does this have to do with music?

Everything. If you are not at your best, if you are not creating content that is great, if you don’t turn up to play everyday, you will be left behind.

You could have released two great songs and people are talking about you, there is interest and then you choke. You fail to deliver. In music second chances and comebacks can happen but the task becomes harder.

Big bands rely on their legacy. Smaller bands rely on their connections with the fans and pushing out great content. Once that stops, people might give you another chance, but don’t expect another one after that if you fail.

In the case of the soccer/football team, imagine if their recent run of form got scouts(aka. gatekeepers) interested. Would the team have been picked up? No chance, opportunity missed for them.

You need to be excellent everyday, all the time.

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