Pink Floyd Interview With Syd Barrett and Rogers Waters Should Give Musicians Insight Into Playing Volume, Gig Venues and Where To Take Your Music

This is an interesting interview with Syd and Roger talking to an interviewer who had different views on how loud music should be and how most musicians should stick with what everyone else plays. Syd quashed that notion very fast because of where Floyd wanted to take their music even in early times of the band when they had not even played many full fledged concerts.

 Not many interviews have Syd in them, and this one I thought tells you a bit about where you should be taking your band's music, playing levels for your music and the type of venues you need to pursue.

Take it for what it is, important golden nuggets of information that your band should use to take your band to the next level.

Mark Grove                                                                                                                                                                        

Musicians, How To Stop Being Allergic To Success

Most musicians don't realize how money is really made in the music business or in any other business for that matter. Just the way it is. I'm not here to slag or put down anyone. That's not my intention. You need to hear the real goods guys.

By the way, this is a classic picture of Plant kissing Band Manager Peter Grant. Most bands wish they had good relationships with their managers or agents ,but don't. Most of what I say falls on deaf ears but I keep moving in this biz despite the naysayers. Most marginal bands seem to think that making money as a musician is some kind of mystical transaction that only happens to a privileged few. O you seem to think they must be doing something illegal or immoral to get major bookings.

Think what you want but I'll tell you like it is.

Why you Need a Thick Skin As a Musician

If you can't grow a thick skin as a musician or band you are basically going to make peanuts or give up altogether.

Here's a personal story.

 I worked with someone in the music business in 1985 and 86 booking blues bands in Southern Canada and the US Northeast. We were making some decent cash as an agency but nothing spectacular. We still worked regular jobs and worked doing something we loved. One day I went to use some of the agency money from our joint bank account which was at almost 9 grand in january 1986. To my dismay I saw that the account was in overdraft. What!

It seems that my business partner had literally absconded with the agency loot to the US and sought his fortune in the booking agency game in the US. I was pissed off for about a week when I realized that it was useless to try and get the cash back. He was in hiding until all this blew over. He was a bit of a wise guy who always took bold moves.

I was told by many others including relatives to get my cash back. To call the coppers. Why?

He was gone even though I knew I would see him someday even 20 years from then. I still had my own money and a good standing with people in the music business. I did see him but I just ignored him.

But wait...

The 2 blues bands we were handling got wind of all of this and decided to fly the agency coop and move on. Even though it didn't affect their bottom line they thought it did. They had friends tell them to get away from us and any agents and fly solo. They flew solo for a while and ended up quitting the biz. Too bad, they were great blues cats.

They could not develop a thick skin period.


I still had bookings for them lined up, and they were so adamant about going solo it affected their bookings and how much cash they were making. These bands thought I was doing something wrong and illegal regardless of it not affecting them. Figures. You think bands with major agencies worry about everything that happens as some sort of crisis? Hardly. They deal with it and move on. Don't give me any crap about them being better than other musicians and they have nothing to worry about.

They take care of business period.

I just got back to work booking bands and helping them media wise. That's all there is to it guys.


A Grave Warning For You The Musician:

You'll need to become immune to what happens to you and your band or the people who represent you, or become an also ran who gives up at the first sign of trouble.

You're not like that?  Are you?

The only blame a musician and agent should get is an inability to work together, or the inability of an agent to get bookings, or your band to not see that you have to actually work hard at this.

Only money made should ever get a vote in this music life.

Your Girlfriend or wife doesn't get a vote either, even though she thinks she does.

And neither does your Mother-In Law who hates with a passion the fact that her little girl married a musician. No she doesn't get a vote.

And other musicians other than your band don't get a vote either.

And most of all friends of yours who have something negative to say all the time about how you'll never make it, don't get a vote or a say in your life either. Don't let anyone have a say if they aren't involved directly in making cash for your band.

Can You Still grow a Thick Skin?

I really hope so. That way you can live out your dreams as a musician.

There is no better time than right now to start creating a thick skin so hard, that anything that happens in your music career you can deal with like a pro. If you can deal with the BS of the music industry and have a thick skin, then I have the perfect medication for you and your band.

And it's totally free.

Our free report is on how to work with other bands, open for them, create media for them and even book them and sell their CDs for a cut of action! You can even develop profitable cash centers that help your band make money working with indie labels as writers and promoters.

Your band will receive free monthly reports with tips on music business, guitar and gear tips and  receive a Free Musicians Instant Press Kit for 3 months from us here at Canadian Guitar Player. Stay tuned for more on the freebie press kit.

All for free and a lot more.

Just send us your email and name to:mdgrove@rock.com

Or you can click the big fat subscriber button in the right hand corner of our site. Just put your email and name in there.

Much success to all musicians, and I know you can develop that thick skin.

Mark Grove

Musicians, Are You Going In Too Many Directions Music Style Wise? How To Stop It And Make The Cash You Or Your Band Deserves

I was reading some material from a wealthy internet marketer named Mike Filsaime. You're probably thinking, why do I as a musician need any of his concepts? There is one concept every musician should use, and it is one called The HedgeHog concept. I talked about it in my last article on Session playing.

Remember?  You need to focus on one type of music and approach a band that plays your type of music. If you go in many directions music style wise, yeah, you'll learn different types of music but chances are you're limiting yourself with the type of music you play mainly--and you'll go no where or make the kind of money you want.

By focusing on one type of music you're using the HedgeHog Concept. There is a short video from Mike based on this and it's only 2 minutes and 15 seconds. You will see that you're going down too many roads. You think Warren Haynes from Gov't Mule plays a boatload of different music. Chances are, no, he doesn't.

Watch the video on this concept and go back to the last post on being an in demand session player and you'll see the HedgeHog Concept is an important part of your plan as a musician to really make money with just one type of music. Think about this too. If you play one type of music you can diversify within that style of music, and let's say you are a blues player, you'll have blues bands, blues artist managers and blues labels approach you to do sessions. That's called "Natural Diversification". I learned that from another well known businessman named Jim Straw.

So watch the video and use this concept to go forward and make money as an in demand player or band.

Mark

How To Become an Instant Session Player That's in Demand

Carl Verheyen, one of the most in demand Session Players                                                                                                                                                                                                                                                                                    Whether you're just a local, regional or national player you can become a session guy who's a go to guy as well. You can be a session player and not even realize it by doing a few things in this article, and give you the resume you need to get better paying live and studio work.



Most players think you need to audition or be discovered by agents or label scouts and A & R weasels to get session work that pays big to keep you cash flush. First of all think of the type of music you play mainly and go with that. Don't try and be a session lad doing 3 or 4 types of music. You'll go in too many directions and end up doing nothing. You won't be focused.

If you play Blues and Country stick to those two. But start with just one type of music for doing session work.

If you go out to local jams sessions and see blues bands at these jams and know they use hired guns from time to time, talk to them about their music and ask them questions about it. Don't talk about your blues playing.

Offer to interview them to learn more about their work. Ask them what kind of music they play even though you know they're bluesmen. Their blues may be a little different than yours. You may be more of a blues rocker and they play mainly country blues, and you want to learn all you can about the music they play.

Ask them what kind of guitars and amp rig they use along with strings and effects or other equipment such as mic's. This will give you much insight into their music and how you should approach sessions with them. Even ask their bass player and drummer how they play and their equipment they play to learn more on how to play their music.

Also,how they play with each other and how a second guitar player plays with this band. Listen to them and play in accordance to their feel,tempo,phrasing and texturing is very vital. Write up some articles and interviews from the interviews you conduct with them and continue going out to their jams and gigs and buy their CDs. And watch their shows and if they let you, their practices.

By creating value for them that will plant a seed in their minds that you're not just a player who wants paid work and you're helping their band. You may be a great player but you still need to practice jam and learn from other musicians besides your band. And you might just get regular session work if you follow the steps I've outlined. And if you do get session work with that country blues band, before you can play sessions your way, create value for them with interviews and articles and media help, along with still doing articles that teach other musicians by creating value for this band you want session work with.

And like usual you need to jam with different bands in the blues and country sector to get the feel you need to play like a real roots session guy. Learn all you can so you can be an in demand session player that many other bands who play blues will want to pay you well for what you do. In a live or studio environment.

How Your Band Can Make More Money Opening For Other Bands And Creating Money Making Joint Ventures

By Mark Grove

" If Your Band Wants Real Success, Approach The Band's You Can Create Value For And Don't Stop Challenging Yourself and Your Band Until You Make Lots Of Money" (Mark Grove)

This is an important repost guys. How to approach bands you want to open for and create so much value they'll work with you and you'll start making money gigging and getting a cut of someone else's action.

I keep on harping about playing for free and giving away your best material. Literally giving away the kitchen sink. Well, at least giving away your Mother -in-Law who hates you being a Musician.

Read down to the bottom of this golden-nugget filled report to find out how
your band can start it's own media.

The Realization:

The realization is no one knows who your band is--at least not yet. If your lead guitarist isn't the greatest thing since the Shred Master's Like Yngwie Malmsteen, Paul Gilbert,or Blues Guru Derek Trucks. Chances are you'll have to play for free for a while.

Mean while, play those Jam Sessions weekly even though you hate it like a passion sometimes. Open for other bands for free, and come out with a 3 or 5 song EP and give away a number of them for free.

For free? what in the hell are you talkin' bout Mark?

Yes, free. Just a small portion of them.

If you structure your band as a business when you first start out, you can actually write off the free CD's as a promotional business item expense. You may live in Canada, United States, South America, Asia or Europe. If you have a government that encourages indie music business, you'll be able to write off those expenses.

Work on writing more songs for your bands and other bands, and practice your ass off and give away songs on your bands website.

Giving Value Interviewing Other Band's:

Offer to interview other band's in your genre and set up audio and video podcasts of those interviews on  your website. This creates MASSIVE VALUE for other bands. Keep playing regularly opening up for other bands. Then start asking for money. Because, if a club booker only offers 50 to 100 bucks for opening or even head lining because of low attendance, work out a deal with the club booker and put that money in a bank account. Preferably, in a high interest ING Direct account. If you have a 3 piece band that money is useless to each member, other than a little spending money. Hardly worth it.

But you could take the money and use it in the business online or paying for gas to gigs, and writing that off as well. Besides giving value to other bands think about how to create value for your band. Creating even more Massive Value for other bands:

Set up videos and podcasts of other bands interviewing them on different aspects of the music business such as guitar and gear tips, music business, getting booked, recording-- what ever. Include subjects of interest to the musicians you're helping mainly. Get ideas from Guitar Player and Guitar World mags.

Be different when approaching bands you want to open for. Don't just be like every other band and say you'd like to open for them and here's our CD. Or I love this, come see us play or come watch us practice.

No!  Don't do that. Think differently. What kind of value can you provide them?

Those interviews you do with a band you want to open for can be free to musicians on your site and eventually used as how to material in E-books you can sell for even more value to musicians. Going back to opening up for musicians. Offer to start round table discussions at clubs with the headlining acts and interview them, and have fans turn out as well. This can be done before or after gigs. Keep on playing gigs and asking to open for other bands. This also gives you leverage with high paying gigs by creating value for clubs, bands and your fans.

You have created so much value with your free stuff, musicians will wonder, if your free stuff is this good the stuff like interviews, CD's, and how to stuff--the CDs and shows I have to pay for, for musicians must be incredible!

This little tip will help your band insurmountably when you become a headliner and start touring. But keep on creating value for other bands by continuing to give away so much value that you create fans of musicians, music industry people and your fans most of all.

Okay, How To Start Your Bands Own Media:

I'll keep it simple. Start by writing your own articles, bios and press kit material. Or get help from me. Tell other band members we're going to create our own media. Huh? Yeah, you're probably saying, I don't want to do that shit! If you're not getting any media interviews, do it yourself.

Yep. If you play even just one gig a week or a month for that matter, have a band member interview you before and after the gig with the audience present. Just a short interview. Now, to get a little leverage since you're bringing people out to a local club, ask the owner to bring out the media to watch the interview and your gig. Offer to write an article on the club as well.

Make sure you have someone from the band video tape the interview so you can put it on your band website. Another way to create your band's own media is to hook up a computer at the gig and have the video stream live on the internet.

http://ustream.tv is a great way to stream band interviews, shows and interviewing other bands for free. Or you can use freeconferencecall  which you can record interviews with musicians right over the phone and

download those interviews which other musicians and fans can listen to online to create even more value.

Start doing this interview process for every gig. Have other band members interview each other, and interview other band's as well. Create a service like I have and write articles for bands. Be their go to guy or band.

If you play mainly metal, target bands in that genre. Don't stray far from your genre. But stick to making money for your band. What I said about wanting to open for other band's by interviewing them regularly. Do it. Don't ask for anything in return. This is part of creating a music media empire. At some point make inroads with this band and open up for them. If it's for just 100 bucks, take it and bank the money for important band business. If they can't pay you, play it anyway.

By constantly doing interviews with this band and other bands,you'll create so much value they'll want to pay you a cut of the profits. Continue to do regular interviews with your bands and other ones you want to open for. If you provide a writing and media service like this for musicians, they'll love you for it while you work on  your own band material, jam and open for local and regional bands in bigger cities. Eventually, you'll open   for bands that play 2,000 seat theaters and big hockey arenas.

If you work it right, you'll continue to create media for your band, other bands and get paid for it. And you'll go on the road making at least 3 or 4 grand a night opening for bands you went out of your way to interview and create media for, not asking for anything in return. Not bad eh?

It's simpler than you think guys.

Email me:mdgrove@rock.com

Mark Grove

How To Become an in Demand Bass Session Player Doing Live and Studio Work

Picture of Session Bass Player Chris Chaney


By Mark Grove




The answer to that is double-edged, and we’ll address that here today in our latest Canadian Bass Player article for Bottom-Feeders. Keeping the bottom together with your fingers in a studio session is easier depending on your hand dexterity and building up your hands and fingers to take the punishment of playing Bass. I think if any Bass Bottom Feeder uses these tips just a little, you'll come out ahead as an in demand Bass Session guy, and play the kind of music you want to play.

It’s also a lack of noise in a studio session that keeps you pick free, and players not having to crank their amps and rack equipment to drown out a crowd. But playing situations both studio and live are something you have to get used to. Just because you have a great feel playing live with a pick, doesn’t mean that studio session work without a pick will be a breeze.

http://www.butterflypicks.com

Often, a lot of live bass players don’t have the right feel for studio session playing. It doesn’t work as easily as all that. A huge percentage of big players used hired guns for Bass studio work. We’ll talk about live and studio work with and without a pick, and the little nuances when it comes to Bass playing. First question is, do you really need a pick for studio session work? For the most part you don’t need to because of the work environment. What I mean by that is most session Bass players are known for their texture and feel on certain albums as a sideman.

As well, it’s a matter of an ability to hear what the other players in a session need for a track—and literally get into that head space and being in the pocket with the right tone. When a band needs you to play with a pick—it is usually having to change from Round Wound to Flat Wound bass strings, and a little less on the bass tone, and jacking the treble. This creates a cleaner bass tone as a result.

I think most bass session players wouldn’t, including those bass axe-men who read this, hate having to play with a pick or fingers when they don’t want to for heavier material.

Live work with your Fingers:
 If you play heavy music you better have flat-wounds and Humbuckers up the Wahzoo. Along with that some Mesa-Engineering 600 watters would be nice to cut through. Nah! Even if you have top of the line amps and bass guitars live, you still need to cut through the Lead guitar and drums. But chances are you still need a pick to produce the string and tone attack you need to cut through.

But it’s tougher than you think to get used to using a pick and the right attack on those Flatties, and produce some nice fat chords that are in the pocket. Mainly, it’s a matter of a pick that feels good between your thumb and forefinger, and getting used to using a pick.


Butterfly picks are great for bass players who like a fatter or thinner pick. Using both a Pick and doing it finger style will help you adapt to both live and session work, and become a more talented Bass Player that gets more work when your band is off the road.

http://www.butterflypicks.com

New Audio: How Players Can Use Practice Amps To Their Advantage

This little audio will show players how to use little practice amps in various situations, and why you don't need to always use a Half Stack, or even a 50 watter in a lot of circumstances to come up with the tone or sound you need for a particular session. Whether it's a Jam session, Live Gig or recording session.

Just take a listen and get back to me lads. Just click the link below to listen to this little audio on how to use even 5 or 10 watt amps to your advantage. Dee Curtis our local "Music Guru" plans on coming out with a 6 watt amp to haul to jams and intimate gigs. He also knows a thing or two about playing volume. I'll probably have him weigh in on this subject in a later audio.

Enjoy this valuable little audio. Mark

How Players Can use practice Amps