Music Career Talk 26

Okay I'll cut to the chase (I love that saying), I have written about the music industry for the past 6 months on a weekly basis. I have shared some of my knowledge, and experience with you hoping I could shed some light on the music business.
These blogs were fun to write though I admit there were some Sundays I wanted to skip, but didn't (except for my birthday). I have dedicated my whole life to music from studying violin at 8 years of age to present day as a working producer/musician/record exec and without a doubt I'm a lucky guy. It hasn't been easy, but very much worth it!! I enjoy helping others get through this tough road of music and hopefully have been successful. I want to thank all the cool people who have read my blogs and left me such nice comments. If any one has missed a blog or wants the whole collection please contact me. If any one has any questions about anything I have written let me know. I will write blogs from time to time, but my schedule is packed and I must clear out some time, I will be on the road as well. I'm on the hunt for a book deal which is a top priority for me. Lets stay in touch and stay in tune.

Music Career talk 25

Special announcement next week. Now on with the show;
The subject today or I guess tonight is "cover songs" or covering other peoples songs.
Sometimes it's the best way to get noticed. Lots of artists have made a career out of other peoples songs. Of course I will give you examples, but let talk about why??
Some artists don't have the ability to write great songs but are great artists!! That should not stop them from having a great career, just ask Rod Stewart. I'm not saying Rod didn't write any of his own songs I'm just saying. When I go to hear an artist or band I like to hear a cover, it gives me an idea of how one artist interprets other peoples work. If it sounds the same as the original artist then most of the time it's a pass for me. If I see a band playing Beatles songs and they do it well I guess that's okay.
There are a number of bands that have exploded with success from other people’s material. Before I start naming names there are some rules to covering other people's songs, like say legal permission either through the artists themselves, their publishing companies, or the Harry Fox Agency. Just make sure you have permission so you don't get your butt in an expensive law suite.
Here are some artists who really know how to make a cover song their own;
Ray Charles (Elanor Rigby), Joe Cocker (With a Little Help from My friends),
Van Halen (Dancing in the Streets), Marilyn Manson (Sweet Dreams), Led Zeppelin (the first L.P.and that's a fact)Great White (Once Bitten), Quiet Riot (Cum on feel the Noise)the Beatles and the Stones all did covers dare I say even No Doubt, the list goes on. Then there's the other list of cover songs that didn't come out very well, let’s not deal with that. If you decide to spend your time covering a song on record or live in your set, make it your own, make the original artist proud and make sure you have permission. Have a good night.

Music Career Talk Twenty 4

This will be a brief discussion on contracts. We will talk about recording contracts in particular. This blog is based on my personal experience in recording deals and negations. My first suggestion is you get out of this what you can, but certainly ALWAYS seek an attorney specializing in entertainment law with an emphasis on music before you enter into any kind of agreement with any one. Keep in mind that a signed contract (agreement) is sometimes only worth the paper it's written on. Which means what is promised by either party doesn't mean it's going to happen. Of course with a signed agreement you always have the ability to go to court and fight for what ever has not been performed by either party, but going to court is a time and money draining process. There is a term used for areas of an agreement that don't quite explain or fully spell out part of the deal, this is called a "gray area". When working on a deal with the opposing side or your own attorney don't let a word, sentence or paragraph enter without you fully understanding everything. Don't be intimidated or embarrassed by anything you don't understand, clarify everything!! Back in the day a major label recording contract could be more then 40 pages, the ones I use with my record company are between 4 & 5 pages. All recording contracts have language that is the same (depending on what state or country the agreement is written in) this is called boiler plate. The main topics covered are; terms and conditions, duration & options, compensation, third party interest, creative decisions, publishing (really should be a separate agreement), guarantees of performance by both parties, ownership of masters, advance against royalties, budget for recording, video, promotion, producers points which in most cases comes out of artists points and a show of accounting by the record company. Most artists look at the record company as the evil greedy monster and in some cases that might be true. Please keep in mind that the record company takes the chances, invests the time, money and effort into breaking an artist which is a major task to say the least. The percentage of success for record companies compared to the rate of failure is small so when something clicks the label has to take their pound of flesh. At the end of the day fair is fair. Know what your signing before you sign it and there won't be any surprises. Now go get a lawyer and sell a lot of records.

Music Career Talk 23

I'm going to talk about Public Relations today. What it means, when you need it, how much does that service cost and how it works.This will be short and sweet. The fastest way to describe what a publicist does is to say he (or she) is the liaison between the client (you) and the media. Of course there's a lot more to it then that. A good publicist should have the best verbal skills, great contacts in the media, and a true belief in their client. A great publicist can make their clients career flourish with success or sink like a lead weight in deep water. Public relations can be found in numerous industries, but we will focus on show biz. You can hire a single publicist or an entire P.R. firm who will have a staff of publicists with expertise in related fields. There are a number of major P.R. firms in Los Angeles specializing in entertainment and publicists within those firms who specialize in a particular area. With music it might be someone who just works the metal scene, they will have contacts with all the metal publication, labels, online metal websites etc. The same for hip-hop, pop, mainstream rock etc. you get the picture. Then there are individual publicists who can either do it all or specialize in one area of music and don't like to stray away from that. When do you need a publicist, when there's something going on in your career worth talking about. Most publicists will plot a campaign starting with "awareness" this tells people you and your project exist so the next time your in the press people will have already read your name. Then as your project moves forward so does the press. When hiring a P.R. firm or publicist you must remember most publications run 2 or 3 months ahead, so what is written in January won't be in print until February or March. Of course this is different with viral media which can be immediate, All publicists will tell you public relations is a process that takes time and nurturing which is true. Cost will really vary and can range between what ever you can work out with your budget $1000.00 - $3,000.00 per month to $10,000.00 per month. These numbers are estimations on my part and based on my experience not yours. When you interview perspective publicists you'll see they like the sound of their own voice and for public relations person that's a good thing. Choose wisely and you can quote me on that.

Music Career Talk Twenty 2

We're going to talk about videos. Not so much how to make one, but what role a video might play in your music career. I have been involved with making videos for many years in several capacities; as producer which entails putting all the parts together.Finding a director, location, budget, actors (if needed) in short "making it happen". I've worked as a director which is very similar to producing music. Though not technically trained in cinematography I have been a photographer my whole life so the concept is there. I have always had a great D.P. (director of photography)and someone who can really light a set. With all the years of directing musicians in the studio, preparing bands for major shows and showcasing directing for video was a very natural progression for me. I have also been titled with executive producer which in short means I paid for the video. Back in my days at T.N.T. records we shot all of our videos on film. This is very expensive, but looks great. Now you can shoot on any number of video cameras which can give you a film look. I believe in time your cell phone video camera will have the quality to make a video, mine is close right now. Having a great video can really propel your career by making you assessable to the masses without leaving your house. When I'm shopping for a record deal (truly a vanishing art)having great music is the key, but no one buys anything sight unseen. A video gives a company (record label, management) a chance to see as well as hear what they might be investing in. I can tell you as someone who has run two record companies seeing a bands video really helps me make that yes or no decision. In most cases a label will still want to see the artist live, but with a good recording and video you're improving the odds. With the internet and social networking available there are very creative ways of self promotion making a video a very necessary tool in your (imagine trumpets playing and a lot of reverb on your voice)"Quest for Fame".
Keep in mine that using a weak and or bad video will sink your ship fast. Remember unless you have a friend who knows what there doing, "you get what you pay for". It's hard to make a first impression on a second try. Now go out there and make a great video!!!

Music Career Talk #21

I took off last week for my birthday and thanks to all my readers who contacted me with H.B. greetings that was so cool. Now on to the business of the day. This blog is all about band agreements or contracts, a written meeting of the minds. Bands often form without an eye or ear to the future until a fight breaks out, someone leaves the band. In some cases there's no problem, other times there's a mess. Let’s start with equipment; amps, transportation, P.A. system, the band name and the list goes on. A band buys gear together because it's an expensive item and chipping in makes it possible. Now a member leaves, how do you handle that? I guess you can give that person their share of the money, based on what they paid at the time and not what the P.A. is worth now. How about the band Van (or truck or what ever) same deal as the P.A. A more difficult situation, lets say the band has (very wisely) hired me to produce their CD, and man that was expensive. Each member contributes towards a lavish recording (just kidding) and now a member has left. The recording is no longer really useful to that person other then a way to showcase their playing. What can be done to be fair to all parties, keep the peace, avoid a law suite (if any one can afford a lawyer) and move on with your life. Here's what should be done, a very simple band agreement covering the "what ifs" and "who gets what" just in case that band brotherhood shield of invincibility should crack like a Thanksgiving walnut (sorry about the sarcasm). I've heard the "dude that will never happen in this band" too many times!! Here are some points to cover in the agreement. Make reference to the band name so after a member has left the band can continue to use the name. Of course if that member has a trademark on the name you will need their permission to use it (get that in writing) or pick a new band name. If there is a recording, promotion campaign, website, vehicle, musical gear any expense that was acquired together there is a way to settle all disputes at the end of the rainbow. One thing to mention is whether that band member has quit or been fired which might affect the agreement. If the band writes songs together then that should have no affect on publishing splits. All of the above mentioned and more needs to be covered in a band agreement. A musical prenuptial if you like. Please don't try this at home on your own, get a lawyer to over see all. Most important: don't be a flake, try to stay TOGETHER. See ya.

Music Career Talk

Hi everyone. I have written 20 blogs so far and hope my readers have gotten some useful information. Today is my birthday so I will take some time for myself and my family. I'll be back next Sunday with a great new blog!!! (I hope).
Take care,
Dito

Music Career Talk #Twenty

So last week we talked about songwriting. This week, "what to do with all these songs you're writing." One thing I always recommend to songwriters is to have other people listen to the songs. Sometimes you write something and think it sounds great, and don't realize you have written a song that already exists. Sometimes a song will stick in your head and part of that song will end up in yours by accident. Not your fault until the lawsuit. It's also good to have other writers hear your music (as long as you have everything protected by copyright) and ask them to be honest with you. So many people come to me with what they think is the best music ever, and it rarely is. Okay so there are several avenues of possibility to explore. Writing for yourself as an artist, writing for others, looking for a publishing deal,and songs for film and T.V. Pick your songwriting career du jour. Before I start, remember songwriting is so competitive and now with the internet your competition is world wide. So if your writing for yourself as the artist figure out who you're writing for (mentioned last weeks blog), who will buy (or download) your music. Once you know your audience you are at least one step in the right direction, but that's just one step. The good thing (if there is any) about this generation of music is you can be independent and still be successful it's an open field today. With record companies being so restrictive and unwilling to develop new artists, the hell with them might as well do it yourself. Just do it right because the majority of artists are spinning their wheels with effort and little substance. The really bad news is there are lots of talented people out there who will never be heard for a multitude of reasons, please don't be one of them. Writing songs for others keeps you as the artist out of the picture which is one thing less to worry about. Writing for other artists lets you write in any direction you want for who ever you want. If you feel you have a song for a particular artist you can contact their manager, publisher, or record company and pitch your songs. There are also people who will do that for you, lawyers, agents, me who ever, just get out there and try. Remember writing for film or T.V. is another story. In a perfect world knowing music supervisors is a home run few of us get to hit. When you record, make sure you always take a T.V. mix (without vocals) of your songs, sometimes the music is perfect for a scene, but not the lyrics. Don't ever be discouraged by getting turned down, most of the people who listen to your music are completely clueless and only have there jobs because of who knows what. Keep writing no matter what, it just takes one song to make it happen, just ask all the one hit wonders who are driving around in their Ferrari's. You can't hide a good song regardless of a poor performance or bad recording, and a bad song is a bad song no matter how you sing it. Good luck.
This blog is dedicated to 9/11 and all the brave souls who went through it.

Music Career Talk 19

This will be a two part blog on songwriting. The first part will be on the act of songwriting and the second part (next Sunday) will be on what to do with your song and or catalog of songs. There are several ways people write songs, first of all some write with others as in a collaboration, maybe one writes the music and one writes the lyrics, or both do both. Finding a great writing partner is like finding a great doctor or auto mechanic, you want to keep that relationship forever. Some writers use an instrument to write, piano, guitar whatever feels right. I have worked with a number of writers who use no instrument, but write melodies and lyrics in their head and come up with great material. So what comes first the chicken or the egg, music or lyrics and does it matter? When you sit down to write it's usually based on some kind of inspiration. Another song you just heard (that doesn't mean stealing)a sunset, love, hate, politics, anything or just a message you want delivered to the world (or one person) through song. If you're writing in hopes of commercial success it's good to know who you're writing for, your audience, who wants to hear what you have to say. What's relevant to the people you're trying to reach. When writing for yourself anything goes, when your writing as a career for yourself or others to record your material there are some guide lines you might want to follow. It's great to be original, but at the same time you need to keep your ears and eyes on what's happening in the market place, and be able to feel where musical trends might be headed. Songs have a formula that consists of intro, verse, sometimes pre-chorus, chorus, bridge, and solos (which can be played over any part of the song) and a means of ending the song in a memorable way. With that said you can mix up these parts anyway you want. Sometimes I like to start a song with the chorus as an intro. When your writing in the contemporary music world there are a few things to keep in mind like don't wait too long for the vocals to come in, no one at a record company wants to hear a 5 min. song, unfortunately long solos are out and the old industry saying "don't bore us, get us to the chorus" is still in affect. Popular music should be easy to remember and easy to like. We all like the "hook" that one part of a song that we wait for every time we listen. The "hook" can be a lyric, a guitar lick or the bad ass chorus that makes the hair on the back of your neck stand up (if you have hair on the back of your neck). I tell my clients the best thing they can do for their career's is to write. When you collaborate with other writers make sure you have all the splits worked out, it becomes much more complicated when you're trying to figure out percentages with an $800,000.00 check sitting on the coffee table. Every major artist had their first hit so there's room for us too. We all have the same amount of notes to work with A - G including sharps and flats, it's how we mix them up and arrange them that makes the song. The Beatles said "all you need is love" that sure worked for them.

Music Career talk 18

It's the early to mid 80's in Hollywood. On the weekends the Sunset Strip is packed, hard to walk from club to club. Big hair, spandex, and power ballads was the vibe du jour. My plan was to produce as many artists as I could for low to no doe if that's what it would take to get my name out there. A lot of the bands I worked with had attorneys shopping their music to major labels, I always made sure "produced by Dito Godwin" was on all the work I did so lawyers, managers, and record labels would see my name, and know the level of my work. I spent the remainder of the 80's producing artists in every style of contemporary music. My plan for exposing my name and brand really worked, though it took years. I started great relationships with a number of A&R reps at major labels both in L.A. and Nashville. I remember parking my car on a Sunset strip Saturday night and commenting to a friend that I had produced every headline act at the four largest venues in the area. Bands knew A&R would listen to music I produced so finding work back then was great. My calender was full most months of the year. As my name and reputation grew I started getting offers of production work from labels including Interscope, M.C.A., R.C.A. and the rest of the pack. I did very high quality work, stayed within my budget and artists loved working with me as I did with them. Enter the 90's still doing well, but starting to hear and see a shift in music. By this time I had produced a number of major artists, but felt a void in my professional life. My attorney (one of several) called me and asked if I would go to the Roxy to see a band he was representing. They were a good hard rocking alternative band, with a strong following and in possession of real potential. The band had a development deal with Interscope Records which didn't go anywhere. I met with their manager who hired me to record a few new songs and remix a few others. After a some of rejections from other labels the manager and I decided to put an independent label together and not wait for a record company to come along and offer us a weak deal. We formed the company, and as luck would have it got a three page cover story in a major music magazine. This article would draw the attention of a very famous musician interested in what we were doing as an indie label. As I said I wouldn't mention any names, but this person came from a band known for wearing lots of makeup in the mid 70's to this day. Signing this artist opened the door to world wide distribution. We signed several other artists spent hundreds of thousands dollars and started selling records, it worked. We ran the company for four years, did our own radio promotion which turned out to be more successful then using some of the high priced radio indies that helped us burn through our money. We got to travel all over Europe and met some great people I still work with today. You'll have to read my book (when it comes out) for all the dirt, and I will name names. The company was sold in the late 90's, the timing could have been better!! At this point I leaned into my production career which had been all but abandoned while running the record company. Building that back up would prove to be really tough. Some of my contacts at the majors were gone and the need to cultivate new relationships was looming and so time consuming. In a radical move I relocated my family to Ashland Oregon 700 miles north of L.A. I needed to slow it down, so we moved into a 100 year old Victorian home and I started commuting from Ashland to L.A. for work while my family got to do some well deserved chilling in Oregon. I'm going to cut to the chase (excluding a decade of music production) and let you know that several years ago the urge to have a label kicked up its ugly head again, and with that said got a deal with Universal Music Group, loaded up the truck (No Camero any more) and moved back to L.A. By the way my friend from that snowball fight back in the 60's is about to record an album with me some 40 years later. "Get a real job mom?" I got one.

Music Career Talk 17

It might help to read the last few lines of last weeks blog, and with that said: so they packed up their Camaro and moved to (not Beverly)but Toronto Ont. Toronto is a beautiful city roasting hot summers and a winter you wouldn't believe. My singer and I had been signed to RCA in New York for a quick one album deal which lasted as long a bad cold. Being fed up with the New York music scene is what prompted us to leave and now it was time to conquer another music scene as well as another country. At this time in the late 70's Toronto had some cool music (maybe a little dated) with great players and lots of venues. First order of business was to put a band together. We had already found an agent who was the top guy in the city. We had a ton of experience having toured all over the country with rock stars and our recording from RCA, so putting a band together should happen pretty fast, and it did. We got a drummer (from Iran) a French keyboard player from Quebec and a Jewish bass player from New York. We rehearsed a full set of original material, called our agent and said we're ready to go, he replied "when I get something in for you guys I'll call you". WHAT!!!!!! We didn't move all the way to freaking Canada to hear that B.S. We had been living on savings which was dwindling away at an alarming rate. My singers wife found a job in the publishing business so they were safe. My wife and I had only been married a few months so this was a great introduction to my ability to supply a stable environment. We left Toronto on a cold autumn morning wondering what's next? We headed back to the U.S., but not New York, this time Virgina where my sister lived. We stayed there for about 6 months until one freaking great call from my singer who had found us a record deal with a small indie label through London Records distributed by Polydor, I think? So they packed up their bags once again and headed back to Toronto. We used some of the tracks from our RCA album and recorded a bunch of new tracks to make the new record. I flew a number of my musician friends up from New York to play on this record. These were the same people who said we would never get signed. The record was completed in the best studio in Toronto. We were the first band to get a major world wide deal in Canada from the states, kind of a reverse situation. We got a ton of press. "Who was this band from New York who came to Toronto and got signed?" It felt good. I remember the day we drove to get our album cover shot, we were on top of the world. I felt miles apart from the doubters and haters I had dealt with my whole life. We put a touring band together, I still keep in touch with some of those members who are still my good friends and read these blogs, thanks guys. We had our same agent and he put us to work in support of our release. We played all over and got really good. We performed at lots of colleges, clubs and did live radio concerts and interviews as well as playing the C.N.E. which is a very big deal in the Toronto summer concert season. This was great and what I wanted, but only lasted so long. No hit off the record and very weak promotion from the label =
the end of that dream and on to the next. My singer and I parted not on the best of terms, he stayed in Toronto (still there) and we headed to L.A. which turned out to be the best location decision we had ever made, and we're still here.
We arrived in Hollywood on a hot June morning in that same Camaro. Finding music industry work here would prove to be near impossible, but because I didn't know that I found work right away playing guitar and bass sessions. One thing lead to another and I helped promote "Motley Crue's" Too Fast For Love CD in the U.S. and Canada. This would be the spring board to my career in L.A. I know in this business who you know can be more important then what you know. You've got to fake it to make it. Next Sunday I'll finish this autobiographical story and you'll see what makes me tick. Thanks for your time.

Music Career Talk Sixteen

I received so many positive comments about my last blog, I will take the next few weeks to finish this autobiographical talk. I ended last weeks blog with my band "The Wishful Thinkers" playing throughout New York. That band evolved into "The Backyard Blues" I wonder, would I ever be in a band that doesn't have the word "The" in it?
Well at this point we were tight to a fault. Well rehearsed and playing out on a regular basis. The road to my future has now been paved, even if I didn't know it at that time. Our lead singer got a very disturbing notice from the government, he got drafted. This seemed to be the beginning of the end. The two guitar players were college bound, the drummer on his way to heavy drugs, and I wondered, what next? Well that band was finished, that dream gone, and my band mates all in different directions. So I dropped the bass, picked up guitar, and put myself out there as a young musician looking for a musical home. One of the first bands I joined was a "Cream" cover band. All the guys were older then me and very seasoned players. I liked that because sometimes it's good to be the weakest player, that's how you learn. Of course I lived in a different part of the city so lugging my gear around in a cab or subway was a major pain. That lasted just so long, and I found my self in another band from Queens N.Y. We had a Chinese bass player, Puerto Rican drummer, female Irish singer and me with too many parts to mention. Lots of fun and good food at the bass player's house (who's parents spoke no English, but not what I was looking for. I thought I would try another whole direction doing club dates. I ran ads and spoke to friends about going out for one nighters just for the money and experience. I found the gigs, but missed the love of the adventure and friendships. Two years had passed since my band had scattered into the who knows where, when one day a got a call from my old singer fresh out of the army and ready to start the process again. Thank GOD my nomad musician days were over!! We met after two years apart, got a slice (New York lingo for pizza) and discussed plans to form a band, write the best music and go conquer the world. First on the list was to write music and pick hard rock and blues songs so we could play originals as well as standards. Next find players, we did. With luck on our side we found an amazing bass player, 6 years older then me, I was 19 or 20 at the time. He was very experienced, a great song writer, and chops forever. Along with him came a drummer, still a little older then all of us. We called him uncle Ernie, short and round, a very good player but didn't fit the image. We found an agent in New York, a real slime bucket who did come up with gigs. One day we got a call to open up for Buddy Miles (former Jimi Hendrix drummer), did we want the gig (300 miles away)? hell ya!! So here's the bad news, Uncle Ernie couldn't make it, "say what"?? Our bass player had been playing with another drummer on side gigs. This guy could play his ass off, had been Neil Diamonds musical director and drummer. My singer and I had seen him perform in a Central Park concert a few months before. He ended up replacing Ernie. We called him "The Bat" because if there was a paying gig he would be there like a bat out of hell!! We became "The Power House" a named I borrowed from an old English band. "The Power House" opened for a number of well known bands including; Paul Butterfield Blues Band, James Cotton Blues Band, Seals & Crofts, The Beach Boys etc. This went on for a few years, maybe some of the best playing years of my life. We were really good, there was no weak link!! The gigs started to dry up as the punk scene came in. The bass player and "The Bat" drifted into other things as they had wifes and lives, we didn't. One day while looking through "Billboard" magazine we noticed an article that mentioned the city of Toronto Ont. having the most rock venues surrounding a major city in North America. Guess what happened next. This was a trip in every sense of the word, fill ya in next Sunday. I would like to dedicate this blog to my friend Jani Lane who passed away a few days a go, enough said.

Music Career Talk 15

This being our 15th week together I thought you should know a little more about me.
I'll leave out names to protect the innocent and guilty, but you know who you are.
My father paid his way through school (University of Pennsylvanian) as a concert violinist. He was a musical prodigy (I didn't get that gene)who got me into music at 8 or 9 years of age. I started with violin, maybe the toughest instrument to play. I received lessons from a mean Russian teacher who never once picked up a violin to show me anything, he just gave me commands, that lasted about a year and a half. My father got rid of him and enrolled me in an up scale music school in mid town Manhattan. That lasted another year or so. I loved the violin, but it didn't love me so I thought it was time to move as far away from the violin as possible. Enter the drums. Got me a pair of sticks and played beats all over the house. The walls of our apt. had little dents all over as I honed my skills with every step I took. Once I discovered I had some chops I made a pitch to my parents for a real set of drums which met with a rousing "NO"!!. I guess the thought of me playing night and day in an apt. in New York was too much. I did have friends with drums so I would hang out with them and play every time the opportunity arose. I don't remember how, but I ended up with a snare drum, high hat and ride cymbal. The ride cymbal had removable sizzles, god I loved that feature!! I really wanted a set of black pearl Ludwig drums, Ringo played that same set. Never got them, still want them!!
While in junior high I played trumpet (all the drum positions were taken, damn it!!). Hooked up with two guitar players who I met during a major snow ball fight on 79th street and York Ave. These kind of cold and wet altercations were frequent in my neighborhood and so much fun!! One of the guitar players lived in my building, and the other near by. We started to rehearse a lot. There was no bass player, just two guitars and my snare and cymbal set. We all could play and sing well so in spite of our ages (12 or 13) we sounded really good. Hmmmm who new this would turn into a life long career. That year I did my first paying gig at "Operation Head Start", an after school program for kids that still exists today. The kids loved us and we got paid $5.00 each. Soon after that, one of the guitar players left; his mother thought music was too much of a distraction from school. The remaining guitar player and I decided to move forward and get more serious about making music. I had a friend who played drums, and of course they were black pearl Ludwig so I moved to bass which I learned quickly to secure my place in the band I had started. We became "The Wishful Thinkers". Our focus was strong as was our sound. We took on a singer and rhythm guitar player. By the time we were ages 15 through 17 (singer was a little older) we were playing at top venues in New York, block parties, private parties, any and everywhere we could. Out of the original 5 "Wishful Thinkers" 3 of us became successful in the music industry, one died (still sad about that) and the other none of us can find, still looking. This band was the start for me and I still work frequently with that guitar player from the snow ball fight on East 79th street. We gigged throughout our high school years playing very hot spots in Greenwich Village, mid town clubs, proms, numerous "Battle of the Bands" contests, Church and Temple dances, and sounded great. We developed a name and following. Back in those days not everyone and his brother were in a band so we were part of a very elite and special group. As this story covers many years I will continue in my next blog complete with photos.

Music Career Talk Fourteen

Today's subject is near and dear to my heart, because I've done it so many times before. I've put bands together for outside projects as well as a life time of bands for myself, including the present. I'll start by saying gathering great players who might even have great songs is not necessarily going to breed a great band.To start with there are a number of potential personality road blocks to overcome. First and most formidable is ego. Most musicians (in the modern world) feel the need to be the center of attention, which means someone else has to take a backseat. In a rock band (covering everything from pop to metal) I divide the band into sections, First section is lead vocalist and lead guitarist. Like Mick & Keith, Steven & Joe, David & Eddie (and the list goes on) the front man duo commands the most attention from the crowd. I speak from experience as I have toured extensively in my life as the lead guitarist end of that combo. At the time I felt invincible. My singer and I wrote all the songs, picked the other musicians, booked all the gigs, and got the girls.
We never tried to put distance between ourselves and the rest of the band. A happy band stays together and plays together. The rhythm section, in the most basic definition bass & drums is without a doubt the foundation of the band, even if they don't know it. As mentioned in an earlier blog no matter how good the singer and guitarist are, if the rhythm section sucks the band sucks!! The key to putting a band together is everyone understanding their roles and agreeing on a common goal. Lead section and rhythm section must support each other. When you rehearse or gig complement each other on a job well done, and if someone messed a part up chill out there's always next time. To tighten up remember one gig is worth a thousand rehearsals so play out as much as possible. Most musicians prefer gigging to recording, rehearsal, and almost everything in life, I'm one of them and my love for playing out is as strong as it was in my teens. Wish I had held on to all my gear from the old days, would be worth a fortune. There are few social and professional relationships that are as endearing, long lasting, and meaningful as that of mates (male or female) who have shared time making music together. Rock on!!!

Music Career Talk 13

Just finished my 2 mile walk/jog/slow run this really sucks!! Sometime next week I'll jack it up to 3 miles, can't wait.
This blog is very important (as I hope all of these blogs are) we're going to talk about business edict as it pertains to the entertainment business. Using proper edict gains the respect of your piers and moves your goals along a little more quickly.
When I cold call a company the first thing I do is to get the name of the person I'm speaking to, find out their position, and sound friendly and positive without being phony and pretentious. This isn't hard to do if you think about how you would want to be spoken to. The other thing I do is to write my thoughts down not word for word, but a general idea and what I need to accomplish from the call.
If the person I'm trying to reach is not available, the next time I call I've got the name of the receptionist or assistant so there is the beginning of a relationship. This simple practice doesn't work most of the time, it works all of the time!! In the entertainment world there are (hate to say it) so many jerks, rude and arrogant low lives that people who are polite with manners stick out (should be the other way around) and may be more likely to get a return call. If I call an executive at a company and they are not in or just can't take my call, I never ask for them to call me back, because then you have dumped the responsibility of a return call on their lap. This then falls under the jurisdiction of "how important is it to call you back in a reasonable time". Time is money so look at what I call "the totem pole of priority", where do you fit. At the top of the pole you find the most important clients/contacts, and money making activities at the bottom, well you know, the opposite. Think about where you fit in and how you might start climbing up ward. There is a fine line between staying on top of a situation, being persistent, showing ambition, vs being a nuisance, and a major pain in "you fill in the word. Learn that line because it's the difference between success and failure. I've had decades of practice . Remember in most cases if you spend more time listening instead of talking you'll learn a lot more. That one took me forever to sink in. Here's something else to remember, the entertainment business is a small business, everyone one knows everyone and bad news travels faster then good news. Sometimes you have to "fake it before you make it", just do it with style and grace. See you next time.

Music Career Talk 12

Okay so last time we were talking about obtaining a record deal from more then likely an independent record company. Considering the state of the record buying market, failure of many major labels (due to poor decisions, a life time of wasteful and extravagant spending habits)getting a big deal with a major doesn't happen very often. Don't get me wrong major's have the power and resources to get the job done, but "the times they are a changing". If you can arrange a show case for a record company I suggest a private one. Record companies will ask to be invited to your next gig, so if that's what you're going to do make sure the sound is great (good luck with that), the place is packed with your adoring fans,and make sure your guests show up on time. Here's a scenario I've seen a few hundred times, The band goes on at 8:00 plays their best 3 songs by 8:17 and the record company shows up at 8:35 or the sound in the club is really bad, bands great, but who can tell. If they show up on time and the sound in the club is good, make sure you're GOOD!! Nothing like having a bunch of industry in the crowd and the artists sucks big time (keep that day job close by). The private show case is a thing of beauty, well planned and timed with flawless precision. Your industry guests arrive when ever, early or late you time the down beat of the first note to suite the situation. The band has arrived hours before (every city has show case room to rent) and has hours to dial in the perfect sound on the rooms concert size P.A. system. The lighting is just right to create that perfect vibe. Friends are invited to give that club atmosphere and cheer the band on. Food and beverage is set up ahead of time which makes the guest feel special (all though they probably feel special anyway). This type of showcase gives the industry guests, band, and friends time to mingle, and relax before show time. I put these show cases together all the time and they work. What's going to get you a deal is great songs, a great live performance, endless dedication, focus and luck!! Don't forget luck = timing and you have the ability to influence timing so you can help to create luck. GOOD LUCK!!

Music career talk Eleven

Since the beginning of recorded music (or close to it) musicians have hunted the ever illusive record deal. In the U.S. there are 3 areas best suited for the hunt, Los Angeles, New York and Nashville. Of course most large cities have some sort of music industry, but the 3 I have just mentioned are the topic sites for today. Way back in the 20th century record deals roamed freely, oh yes large budgets, assessable A&R, and the never to be seen again "ARTIST DEVELOPMENT". People went out and bought records (CD's), attended concerts, retail was alive, radio booming, and the bad economic times weren't this bad!! Any one have a time machine? In some cases bands got signed if the record company thought there was real potential. Labels gave out development deals. I secured many development deals from a number of major labels. Enough about yesterday. Artists are still getting signed by record companies both major and indie, people are still going to concerts and artists can reach the masses by video and the all mighty internet!! However record company development is almost extinct. So here's how you do it. Some of the following can be found in previous "Music Career Talk" blogs, it's great to be completely original, but keep in mind that's a tough road to cross. Record companies of all sizes want an artist to show up with finished product, large fan base etc., but how do you get to the record company in the first place? Do your homework research. Start with a number of artists who's music might be a good match with yours, check out what record company their with, look up that company on line and see if there is a list of staff. A cold call is tough, in most cases you won't get through to A&R or any one without a reference unless it is a really small company and then it's still tough. There is a way to get through all of that and make contact. It's hard to get into a business without some kind of investment. Can't make it without spending, look at it as an investment in your future. There are a number of people you can hire who will represent you or connect you to the people you can't reach on your own. I've done it and I've helped others in the same way I was helped.
As it turns out I have two sessions today and must abandon my writing for now, but look for next weeks blog and I'll get you on the road to hunting that record deal for real...

Music Career Talk X

Here we go my 10th blog on the Sunday before the 4th of July 2011. It's not that I don't like a long holiday weekend it's the fact that I can't do any business for three days,makes me feel restless. If this sounds over the top it might be, but my quest for moving ahead in the music business is on going. The topic for today is radio promotion vs internet promotion. This is a subject that I face right now as I'm about to lunch two new releases from my label this summer. The first thing to think about is who works the promotion for either radio or internet. At radio the traditional path is to employ a "radio promotion quarterback" who determines what format of radio might play my release. Radio is very fragmented so this decision is a make it or break it deal, next the quarterback will hire a radio promotion team who based on their relationships with music/program directors, D.J.'s etc. and geographical location will attempt to get the song placed. Sometimes as a test to see the listeners reaction, sometimes as an add which means the song has been added to rotation. Then to add to the confusion there are levels of rotation i.e. light, medium, heavy, and power rotation. The idea is to have the artist perform where ever the song is being played. Do in stores, meet and greet, and radio interviews at these stations. That's a lot to coordinate!! If you are able to accomplish all of the above mentioned that does not mean the listeners will go out and buy the CD or buy a ticket to see the artist in concert. By the way all of this costs a fortune!! On a positive note radio has and still can be the delivery system for mass exposure of music.
The internet is a great way to reach the masses, it's cost effective, fast, and the future!! This might sound like a bios opinion, but as a record producer I have had great success using the internet as a promotional tool for my own career. The internet is world wide with the press of the "send" key. There is no fragmentation of music style in the same way as radio. Promotion is coordinated by a person who is an expert on internet sites for CD downloads, physical sales, social network sites that millions of people are connected to and visit on a constant basis. Video is a great tool to promote an artist. It's very hard to get a new artists video played on VH1 or other video T.V. networks. Sometimes that decision is determined by chart placement at radio. Sounds like a "catch 22" scenario, enter youtube what a great way to introduce an artist. This allows a band (or single artist) to be seen and heard where they can't physically be. This said not everyone owns a computer, and cars have radio's not computers so there you have it. My thought is to run a heavy campaign on line, get the band touring, build strong awareness, and when the project is really moving go to radio. I'll let you know what happens. For now I'm out of here.

Music Career Talk # 9

Today we will talk about The Road, "that is going on it". This discussion will not be directed to artists who are flying from gig to gig or even riding in a beautiful tour bus, but traveling from place to place how and in what ever you can. In my early days of touring we were so happy just to have a gig we really didn't care how we got there!! A lot of bands don't take the time to figure out their bare bones cost of travel and end up selling gear along the way just to survive which sounds painfully familiar to me. Okay lets talk about travel cost. 1. Vehicle, car with u haul, van, small school bus, beat up motor home (I've done them all, some of you were with me).
First thing to take care of is vehicle maintenance, if you break down chances are you won't have enough money to fix it and you'll miss the gig, I'd rather starve to death then miss a gig so make sure what ever hunk of crap you have runs like a top!! Always best to rent if you can. If the van (or what ever you rent) breaks down they'll send you another. 2. Lodging, If your lucky enough to sleep in a bed every night while on the road you're doing well. Most motels will let 4 people in a room with two large beds. If there's more then 4 people someones sleeping on the floor. Best to make sure the singer and drummer have a good night sleep. So the cost of the vehicle, gas and lodging are the first things to start counting. 3. Food, a band is like an army which travels on their stomach's. If traveling is a little uncomfortable and sleeping is questionable then eating must be a priority. Lets talk about mileage, the distance from gig to gig should be measured in miles, time, and cost of fuel. When planning a tour of any size the logistics can be the difference between making money or losing money. I've made money and lost money, the latter sucks big time!!!
It's important to contact the venue before you arrive to let them know your ETA, check sound check status, and make sure the show is still on. Club owners are a different breed all together!! Last but certainly not least, your equipment. If possible I believe in traveling with two of everything, and at a minimum be able to make repairs on guitars, amps and drums. It's great to travel with a utility person who can help set up, drive the vehicle, sell merchandise, do security, moral support if needed, be the only one in the crowd to clap and cheer and volunteer to sleep on the floor. In review add up all the above mention expenses add 25 per cent more, and have a great trip. Nothing beats going on the road with your friends playing music, right?

Music Career Talk H

Okay for the last 7 weeks I have talked about a number of subjects that I hope will help the warriors of the music industry. This week I will take our talk in a different direction and discuss records and musicians, both past and present. First of all I want to mention I had a productive week. Friday afternoon I had a great meeting at the William Morris Agency regarding one of my clients, met with some wonderful folks at NARAS (Grammys)as I try to improve the visibility of indie artists especially in the rock genera which seems to need the most help, I may sign a new band to my label (if all works out)and got the jacuzzi cleaned out!! Just thought I'd share.
On to the music. The first record I want to mention is old (of course and the blues no doubt)that would be "John Mayall's Bluesbreakers". Most guitar players agree this is the shit(sorry about that). Claptons playing is beyond good and is one of the reasons I play guitar today, the other reason is playing guitar was a great boost to my social life!! Next for sheer music and great writing anything by the Beatles, Ray Davies (The Kinks)as a matter of fact and not to take anything away from the bands of America almost every group that came out of the U.K. in that time period was stellar!! You don't have to agree, but I'm right!!
So we move ahead in time to the late 70's. Just two words to mention "Van Halen". Other then Jimi Hendrix (maybe the KING), Van Halen's style, sound, and technique changed guitar playing for ever!! I realize this talk sounds very guitar heavy, I have played with and recorded some of the best drummers, bass players and musicians in the world, but for me guitar is where I live. Each decade of music has had it's greatness as well as it's crap. Music styles seem to regenerate, and appear once again with a new twist to a familiar sound. New and old merge and become the flavor of the present.
Lets talk about Guns n Roses. I saw this band come on in the 80's in Hollywood and grow to be the biggest rock band in the world. Goes to show what sticking to it
can accomplish. Then years later Axl Rose puts out a CD called "Chinese Democracy". This recording took years to make, cost a ton to make, and got some really bad reviews. Well I'm here to say this CD is great. I love most of the songs, the musicianship is outstanding, and the way Axl used his voice was to say the least, "bad ass". There are great new artists today, and that's what the industry needs. Some of today's recordings are over polished, and over produced so what you end up with is ear candy and no substance. I'm a lover of hard rock and blues and at the same time a major fan of Lady Gaga. Next week we'll get back to business, thanks for being there.

Music Career Talk 7

Welcome, since I seem to skip all over the place when I teach music related subjects I see no reason to stop the trend now. So today we will talk about mixing. You can have the best sounding tracks in the world and F it up by having a poor mix. There’s no trick to having a great sounding recording beyond making sure the instruments, performances and gear all sound great. Don’t mic drums that sound bad thinking you can fix it in the mix. Even with sampled drum sounds if the performance is weak it will sound BAD!!
I make sure everything sounds great before anything gets mic-ed and recorded.
Best to make sure everything is recorded before you start mixing. It sucks to be in mix mode and then have to go back and record something you forgot.
When I start a project from day one and note one I am thinking about the mix. Everything I do is with the mix in mind. What will make the mix easier and sound better. What can I do to avoid unnecessary work in the mix? By recording dry in terms of effects and little use of eq or compression it allows me (or who ever is engineering) to dress the tracks on the way out instead of in and out. So on with the mix. Everybody has their own way of approaching a mix, if you’re looking at the board I go from left to right. Starting with the drums. Not only do the drum tracks have to fit in with the other instruments, but the drums have to be balanced among themselves i.e. snare, kick, toms, cymbals and on.
Each drum has a mic as well as overhead mic’s and room mic’s. Each must be checked for sound quality, level and phasing problems. The drummer hits each drum then plays as a full kit to the producer's and engineer's satisfaction. Next bass; the bass can be recorded with an amp, direct box, through the preamp directly or any combination to create the best sound. Once this has been achieved you have your rhythm section done. If the rhythm section sounds good the rest is cake (not really). When you stack guitars if everything is left and right it becomes hard to tell there is any stereo separation. I like to mix it up. One side may have a heavy guitar on the left with the other one at 2 o’clock. Then maybe acoustic guitars hard left and right.
If there are keys on the track where I place them would depend on the part and if the track is mono or stereo. I place solo’s like vocals, right up the middle and out in front.
My rule for background vocals is not to use any unless they make the lead vocal better. Some songs sound more sincere with just the lead vocals; think of Paul McCartney singing “Yesterday” or Peter Criss singing “Beth” (I got to record that one).
This blog was not meant to be the definitive guide to mixing, loaded with technical jargon, but a quick road map of things to think about regarding the fine art of mixing. If you have recorded great tracks and you want the end result to be great, find a great mixer.
CAIO!!

Music Career talk VI

Okay it's that time again, today we will continue last weeks discussion on independent label success.
This adventure will take you through the maze of an indie signing all the way to the sale of product.
Lets assume you and I have a label we'll call it X Records. We have been looking at artists on line trying to find a band (or single artist) with lots of views (in the hundreds of thousands at least) strong material, great image, and performing on a constant basis. We're also going out to the venues looking for artists who are packing the house every time they play. So one night we find this great band (their name is "Y"). They were playing at the "Z Club" in L.A. on a Sat night. The place was packed with fans, and so the process starts. We introduce ourselves and talk to the band after their set. Next day the research begins on line and everything adds up. We place a call to the bands leader or which ever member seems to be in charge (there's always one). The band will send or email their best material for our review. In some cases we will ask for a showcase, once this is done and we feel the band is stable enough to work with we will offer a single deal and based on the performance of that single have an option for a multi album (CD) commitment. The rate of royalty might be based on whether the artist is bringing their self funded recording (which the label will determine) to be released or if X Records will be paying for the recording. The label must recoup it's recording expenses (in most cases) before a royalty is paid to the artist. A release date is determined by many factors, time of year, other releases by the label,the bands touring schedule etc. This release will be a digital one to start with. The expense of having a physical retail release is great and we want to see if down loads, touring and radio response create a demand for retail orders. So lets put the team together. First an agent, the band must be out playing in support of their release. Next is radio promotion, this enables the booking agent to route the band where radio is successful,and really concentrate on those area's. Interviews will also be set up at radio where the band can plug their shows and music. The label will buy ad time at those stations for the bands shows hopefully increasing audience size and creating strong relationships with concert promoters, buyer's, club owners (an interesting bunch), radio P.D.'s/M.D.'s and jocks. In some cases there is a lead time between a radio release and a street date when product hits the stores. This time is used to generate anticipation so radio listeners and will be primed to buy at retail. Hey what a concept. This has been a snap shot of the big picture. In the future we will talk about mechanical royalties, publishing, foreign licensing, sub publishers and the rest of the pie. The music business is like the shoe business, almost everyone needs both. See ya next week!!

Music Career Talk 5

I will always hate Sundays so writing this blog is therapeutic for me and hopefully of help to a few folks trying to advance their entertainment career.
Independent record labels will be the focus today. Why and how? Why because maybe you've grown tired of waiting for someone else to make a decision on your future. I feel sorry for most of the A&R rep's at major companies. It's hard for them to take a chance on an artist when their job and reputation is on the line. For those of you who may not know A&R=Artist and Repertoire.
Lets lean into the HOW. Indie labels run with the same concept as majors. The team is smaller the over head much smaller and the concentration on a per artist basis greater. I have put two indie labels together since the mid 90's. Both times my M.O.and formula was the same. The first thing to consider are the artists you sign. What do they bring to the table? Do they have past success to run with. Better have hit songs (at least in your opinion), better have a great image, drive, determination and focused like a Mo Fo.You're about to invest money, time and lots of B.S.and T. After your roster is formed the product delivery system better known as distribution is next!! There are several ways of going about this task. In the digital world there are lots of ways to get your product out there without a record label, however if you don't really work it, it becomes very difficult to really see success. When I digitally release product sometimes I just give the first song away (great promotion tool) for any one to down load for free in hopes they will love the artist, see them in concert, and buy the full CD.
This is not necessary with every digital release, no two snow flakes are alike and no two releases are alike.
Finding distribution is hard. You can find several distributor's, each covering different regions as I did with T.N.T. Records or a major that covers the world for both digital and physical product. Next you must be able to promote the artist, that means retail promotion, radio promotion, on line promotion and concert promotion. If that seems like a long and expensive pain in the butt, it is!!! Lets not forget public relations. A "P.R." firm acts as the liaison between the media and the artist. A good P.R. company will design and launch an awareness campaign, handle tour press and supervise an artists all important image. In my next blog we will discuss making the above mentioned work. I will talk about the voyage from the signing to the success.
Help me make Sundays better!!!!         

Music career talk 4

So this week we're going to talk about picking the right recording studio for your project.
There are several kinds of studios to talk about. Lots of people have home studios which can work, but having a pro tool rig at home is not the answer. The few home studios I've worked in had more then pro tools i.e. great pre's, mic's, monitors so the recording chain was there. These studios are great for overdubs, guitars, keys etc.
Recording vocals, drums and mixing is a different world. I'm a pretty loyal client and when I find a studio I like and works for me I tend to nest, sometimes for years. You can either engineer yourself (if you can), bring an engineer with you or use the person who comes with the room a.k.a the house guy (or girl). The house person knows everything about the room so there is no wasted time in learning the in's and out's of that studio.
Here's how I have picked out studios for what seems like the last 100 years.
Lets start with the control room. How well is it tuned? How about the outboard gear and mic's? Most pro tool engineers like to mix everything in the box using all the plug in's which I must admit sound better and better, however I like to use some of the great vintage gear that makes tracks sound even better. How are the monitors, how are they placed, how many sets of monitors are there so I can here a mix in different systems.
I hate to say it, but size does count in control rooms. When I produce a band I put the drummer in the studio and the rest of the band stays in the control room with me so we can easily communicate. The glass allows the drummer to see the band for Q's if necessary (read my blog on rehearsal) or if he (or she) is insecure!
The control room has to be big enough for a few visitors like management or A&R peep's.
The studio must be a tuned room as well. The greatest mic's, pre's and performance's will still sound like crap (didn't want to say shit) if the room doesn't sound good .

Location plays a big part in my choice for finding the right studio. Do I like the area, parking is a BIG deal as well, food because when you have been working for hours and your energy is gone you must fuel up so I can work you for many more hours.
Finally the cost. Most studios like to block out time by the day, if you go to an hourly rate you might end up recording and looking at the clock all day. The more days you book should effect the rate, sometimes it doesn't. How a studio looks on the surface in most cases reflex's the condition of the gear. Most of the owner/operator's I work with are incredibly anal about their work and room, that works for me!!
In the recording world you tend to get what you pay for. Hope this helps. 
 

Music career talk 3

Well we've covered time management and the art of rehearsal, lets talk about management. There are two kinds of management, personal and business. Today we will focus on personal management. First of all most artists think they need a manager when they don't. A few things to remember: It's better to be pursued then to solicit management. In the state of Calif. a manager's duties are to advise and guide their client. So much of what artists want from a manager they can do themselves without commissioning a percentage of their gross earnings.
Independent success (which you will read in many of my forth coming blogs) is the key to success itself.
The right manager can open amazing doors, give you opportunities that are career making and assemble a team of industry experts who can make it all happen.
With that said the wrong manager can kill a career quickly, I've seen it happen, but I won't mention any names.
What does a manager look for?? An artist who is touring (performing on a constant basis) selling product has a large following  you know the same thing record companies look for. In most cases managers work on a commission basis taking 10, 15, 20% (or more in some cases) of your entire income within the entertainment industry. If there are contacts you need to make, people you need to speak to (and no one will take your call) there are other industry people you can hire to help (music attorneys, P.R. firms, guys like me etc.). This industry runs on relationships.and track records. The music business is a small industry and everybody knows each other. Sometimes it's better to have a young, new aggressive management company behind you where you don't get lost in large stable of artists. Of course sometimes it's great to have a major management company behind you who can make the seemingly impossible happen. Choose wisely and may the force be with you.

Music career talk ll

I hope my last blog was of some help to you. A quick review, please manage your time because in the entertainment business you have to hurry up and wait!
OK with that said on to the next subject; the art of rehearsal. Yes it is an art of sorts because the time you put in equals what you get out of it. If you practice and practice and nothing sounds better, it's time to examine your technique. It can be a vocal part, a guitar lick, a set (of songs) for a performance, or pre-production for the studio. When I start to work with a band in preparation for a recording project I start with a few easy ways to help the band understand and hear their own material.  I have the band turn down the volume. Most singers have to scream to be heard at rehearsal. Guitar player is too loud so the bass turns up, the drummer is already pounding as hard as possible so where does that leave the singer let alone any attempt at background vocals.
With the band volume down I mic the kick drum so the bass player and drummer get tight. The key to any great sounding band is a tight rhythm section hopefully we all know that!! When the band is turned down the players can hear each other and most importantly the singer, what a concept!! Most bands like to rehearse standing as they would on stage and that's cool once the music is tight, but before that I put the players in a circle so they have easy eye contact and can communicate their ideas quickly. Try to keep (mostly guitar players) the noodling down while people are trying to speak, you'll get more done and if your paying for rehearsal time save money. Try to make sure everyone knows the lyrics, but can also play the songs without any vocals at all. Have section rehearsals i.e. drums and bass only, guitar and drums only, keep mixing it up so everyone is aware of everyone's parts. When all the above has been completed then stand there like you would on stage, in front of mirrors so you can check yourselves out (dump the bad moves and keep the good ones) and always record your rehearsals so all of you can review your progress. These simple suggestions  work. I have worked with bands for many years prepping for major concerts, industry show cases and recording. It's how successful artists do it. Hope this helps, see you next Sunday.         

Music career talk.

Just a short introduction, my name is Dito Godwin I'm an independent multi platinum award winning record producer, songwriter, musician  and life time survivor of the music industry. I have toured all over the world in various bands, worked as an agent, years of being a personal manager (don't ever work on a commission basis unless your client makes enough to commission), successfully created two indie labels (currently with Universal), 
taught related subjects at several universities, lectured at numerous music industry conferences and now with all of that I'm looking for a book deal. I mention all of this because if I have accomplished a few good things in my life among a sea of no's and rejections you can too!! I will try to pass on some ideas and handy hints to help you get to any level higher then where you are now.
My hot tip for this blog is about our bitter enemy, "The Calender". This of course means "Time". How we use it and abuse it. One of the most important things I've learned over the years is how to manage my professional time. Example: Being in a band till the end of time. If something is going to happen it will, if not move on to something that will happen. Musicians tend to stay put because of the brotherhood and friendships that form when you play in a band (get a puppy) then move on. If you send your music to a label for signing consideration and you don't hear back they don't want you, they didn't forget to call and offer you a deal!
Research, find labels that are signing your type of music and go after them. In case no one told you record companies don't do development any more! They want you to show up with finished product, a big fan base and sounding like a national act! Set your goals realistically, look at the calender pick a date that you feel comfortable with and if you have not accomplished what you wanted to in that "TIME" period change your course a little and try it in a new way, reinvent yourself every once in a while, it's a great way to get a fresh start and still be focused on your main goal. I'm here to help and  "I'll be back", thanks for reading this.