This is me

So if you’ve been following, this is part 2 of 6 summing up/adding to/dissecting The New Rockstar Philosophy. As I’ve been reading part by part, I realizing more what a basic guideline this is for anyone’s music career. It won’t guarantee that it will make you a rockstar, but it allows you to ask yourself all the right questions. If you have no clue what I’m talking about, read part 1 or even better, read the actual e-book.

“If it comes from a genuine place, people will connect to that.” (page 22)

Even if you believe the BS your kindergarten teacher fed you like “everyone is a unique snowflake”, people can/do/will connect with each other on various levels. We aren’t so unique that we can’t relate to one another. Music is an emotionally-driven art form which is easy for people to identify with (both the music AND the musicians). If what you have to say is authentic and potentially relatable in a way, people will connect with it. At this point, I must note that you don’t need lyrics for people to relate. There are moments in Miles Davis or Explosions in the Sky where I feel an emotion that brings me to specific moment in my life where I felt that exact same way and I connect with that music without a word being uttered. However, most music’s message doesn’t have to be that implicit, so lyrics and a band’s image can, most certainly, be a more explicit means to connect.

“Your songwriting will always be influenced by the music that you listen to, but push yourself to add something new to the equation.” (page 23)

As I write this, I am listening to Bill Laswell’s Methods of Defiance album where he paired rock, funk, and jazz musicians (ie Bernie Worrell, Buckethead, and Herbie Hancock) with Drum and Bass producers. Adding different elements makes your music that much more accessible and eye-catching than some other band who is playing copycat. However, that’s a slippery slope because your music, within a given album, should have some continuity between songs…you can’t sound like Tool in one song and Leonard Cohen in another because you like both nor can you really have a single song that sounds like Wu Tang Clan and The Smiths in different parts. OFTEN (not all the time), bands that go off in too many musical places, don’t have enough glue for fans to stick.

“If you don’t have the right members, then you are wasting your time.” (page 26)

In this post I spoke about the importance of testing band mates. Better now than later to find out your drummer’s drug indulging is actually an addiction, your saxophone player isn’t willing to give up teaching lessons for a month to go on tour, or your bassist uses band funds to pay his credit card bill. Being in a band goes beyond playing instruments or being friends, so test the waters and see how big the wave gets.

“It’s best to know where everyone stands when things start to get serious.” (page 30)

Once you feel comfortable with the members you have, it is important to set your intentions of the band, what the roles are of each member, and then make a plan (marketing, booking, money, manager, do you want a label?….). That’s up to you, but make you know each other’s roles (given their passions and strengths), so you decide rational goals (modesty is important too) and the appropriate routes to take to fulfill them. Anyone can say they want to be a rock star, but if you don’t know how to get there then it’s like building a house without blueprints.

“Don’t let anything hold you back.” (page 31)

People will say “you suck” or “quick now and get a REAL job”. Please maintain the conviction coupled with the follow through of honing your craft, sound, and image. However, not everyone can shred like Clapton or have the pop-rock mass appeal of U2 (note: I don’t like U2 besides Joshua Tree and War, but I can’t argue that they’re not huge rock stars), so if you actually suck or don’t have the drive to make it happen, extract your ego, realize your place in music history, and be content with it.

“Does your band look like your music?” (page 34)

I should be at your concert, close my eyes listen to the first song, then open them, and notice the correlation between how you look and how you sound. Johnny Cash was the man in black. Robert Smith of The Cure puts on eye liner, powder on his face, and had that crazy hairdo like a poofier version of Christopher Lloyd in Back to the Future. Wayne Coyne of Flamings Lips wears that vintage, stained suit every show. How you look on stage, in CD linear notes, album covers, press photos…. all adds to and compliments your music. Everything I just listed is inextricable from the band’s musical identity, so think before wearing that “Life is Good” tee-shirt if you’re in an emo band; that just doesn’t make sense.

“The details of live performances are what will separate the amateurs from the professionals.” (page 35)

Think about all the concerts you’ve been to. What were your top 10 favorite concerts? Write down what they did that made it so special, and if it makes sense given your band’s image and style, replicate and then see how you can make it your own.

Look at James Brown, Prince, and Michael Jackson for example.

“People need context and a reason to take a chance on you.” (page 38)

This is what I say almost every post, but I hammer down the importance of it by saying, “people need to give a shit about you.” Why should they care about you, when there’s much seemingly similar music out there. Your “elevator pitch” (ie we’re Interpol meets Modest Mouse or we’re The Roots if they were fronted by George Clinton), opens people’s ears to give you a listen, so they can one day give a shit about you enough to pay you money. DON’T LIE or be vague. Don’t say you’re the next Beatles because A) people won’t believe you B) may not even listen to your music C) will possibly be offended D) will most likely be disappointed if they actually listen to your music.

“Knowing whom you appeal to is a critical step to your success, longevity, and stability of your career.” (page 39)

To know your music is to know your fans and vice-versa. Don’t waste your time and energy in a broad search for fans. Have the foresight to hone in on who your fans should be and hopefully it’ll branch of from there. This is the only acceptable time for profiling. You’re in a jam band, go talk to the kid with Phish t-shirt. You’re in a rock band, go talk to the kid with the tight black pants. There’s a good chance, he/she will wanna hear your band if you have the elevator pitch for your band down to a science (see previous quote’s comments). From there, you need to develop your relationship with fans and make sure they continually give a shit about you.

“Video taping a show can be a huge reality check.” (page 43)

It’s hard enough that a lot of musicians are self-conscious about their music, but you need to be strong enough to watch yourself perform. You get can’t better without analyzing what needs to be changed in your stage presence or what parts of a song need to be reworked for the live setting

“Help out the sound person as often as you can.” (page 53)

I tell this to a lot of bands (if I’m able to remember). Have your set list planned out ahead of time with notes for the sound guy. These notes should include general mixing level adjustments (ie bass higher, more reverb on the vocals, guitarist has a solo during the bridge, this song is softer so have the vocals up) to account for what the vibe and style of the song are. Let him know what key the song is in. Basically, the more information you can supply, the better off he can do his job, and the better you will sound overall. Your live performance is the best place to convert people into fans, so their first impression of your band means a lot. And overall, don’t piss the sound guy off because can easily make you guys sound like buffoons on stage.

“Relying on the club owner to promote your show is not always the best idea.” (page 54)

The venue, the band, and the booker mutually benefit from all parties working together. A venue is going to continually work with a band who does its part in promoting because it shows dedication and it helps to pack more people into the bar/venue. Communication is also vital to ensure that both online and physical promotion is taken care of.

Example: I am currently helping to promote a show I booked. I make a percentage of the door, so if I help a little to promote it could make a difference in how much I make. I check in with the band to make sure they created a graphic for the show and pass it along to the venue, so they can do their part as well. I check in with both the band and venue to see what they’ve done and make any suggestions on how improve the current promotional campaign.

“Good things will come from your initiatives.” (page 61)

Note: showing initiative isn’t being blindfolded and trying to pin the tail on the donkey. Foresight, thorough thought, and analysis is necessary, BUT excessive deliberation shows weakness and uncertainty. Be strong enough to make up your mind one way or another in whatever you do.

That’s all for part 2…stay tuned for part 3.