Getting started - some do's and don'ts.

Keep it simple. A straightforward catchy melody will compliment the lyric and help you produce a listenable song. There will be plenty of opportunity to flesh things out later, once you have established a  'base camp' for your set. Many artists have stayed simple to good effect or enhanced their output with acoustic style treats.

Avoid grandstanding. Long guitar and drum solos belong in the seventies and are best left there. They will put off many more people than they attract. Doesn't mean you can't throw something spontaneously into a set at some point, just don't make it part of your identity.

Diversify what you listen to. When something catches your attention think 'how do they do that?' or 'what could I or we do with that?' Use this to stimulate and extend your basic abilities. This applies to the vocal just as much as instrumental skills. Maybe more so. No voice, no band, or at least no future.

For the vocal, avoid trying too hard. Particularly avoid oversinging. There is no pleasure in listening to someone trying to belt things out beyond their capabilities and going out of control or flat. Keep at a level where you can sustain subtlety. If what you do is good enough a good sound engineer or producer can help you make the most of it and achieve balance with the band. Too much inappropriate effort will also ruin your voice. If looked after then time and experience will enable you to give more.

Do it for real.

The X Factor season has come around again, a year's full cycle with the early stage engagement which started the train of thought which led to this blog. Once again we have experienced a sense of it giving people an opportunity, but cannot get away from the fact that it also exploits those with no talent or discernment for a cheap laugh. Plus of course the knowledge that those who do get through will be pushed through ill fitting gaps to conform or not to what the programme wants.

If you have, or believe you have, the talent to be a successful recording artist then develop the skills you need or find the right people to work with to achieve the specifics you need. Identify your strengths and possible weaknesses then work out an appropriate course of action.

If you want to go it alone then learn the instrumental skills you need to accompany the songs you write. This doesn't mean you need to be a virtuoso. A simple, spare guitar melody is often better than something more intricate. None much sparer than this. http://www.youtube.com/watch?v=I4v8VJ0LRgA

If you have performance skills which can compliment your vocal skills then very likely you will be better off finding people to help produce the melodies to your lyrics and leave you free to act out the songs on stage. It doesn't always work this way. Some vocalists can only confidently front a band with a comfort blanket of a guitar for a whole set.

You may find yourself sharing the whole song writing process to mutual benefit if you find the right collaborators.

Record as much as you can as you go, so that you can subject yourself or selves to a rigorous process of self assessment. When you have 15 or 20 minutes worth of material that you can perform to your satisfaction you should feel confident to perform in public. You might even do a couple of songs before this at an open mic night. this depends on the opportunities your local scene offers.

The option to record videos, even on decent quality phones, gives current new artists the scope to build an audience before they even perform, taking advantage of social networks.

Always feel open to ask the opinions and advice of those you trust to respond fairly and honestly. Make your own decisions still, but you will find comfort and confidence even when disagreeing with those prepared to give the benefit of their time and experience.

Be real.

If this doesn't work you can always try the reality route later.

What Goes Around

     Some years ago I was taken to a gig in Leicester by an enthusiastic mentor wanting me to see his young band. In truth they weren't that special, but they were put in the shade before they even came on by a spine tingling performance by the previous band.
     I got to see the usurpers many times over the next few months as first the drummer and then the bass were replaced by friends and they became the most talked about band on the local scene.
     The bass was a former rockabilly double bass player who had made it his business to play bass really well when he converted. Drummer was a drum technician who could mimic others' styles at will as well as having a terrific voice of his own. Together they created a set of catchy, sub jazzy rhythms which were punctuated by a sparing, exquisitely timed guitar and the whole rounded off by an eminently marketable cool and occasionally soaring female vocal.
     They could and should have become household names, but bad faith got in the way.
     They engaged a session musician with his own studio as manager, an arrangement which included a fee if he got them signed. This created a conflict of interest which led to him turning down the deal which someone else had already set up. His method of attempting to get a deal involved passing demo's which he recorded to his producer mates.
     These weren't really demo's. Too much production; no scope for development. Who was being showcased here?
     A few months later some of the catchy bass lines were turning up on other people's tracks and he went back to try to resurrect the deal he'd rejected. Nothing doing, and then nothing happened until an outbreak of libidinous behaviour led to a choice between band and marriage.
     Five years later I saw the amazing rhythm section as part of another act on the New Stage at Glastonbury. Nice to see the guys, but bitter sweet as this act didn't scale the heights.
     I had these tapes out recently, wondering how the still unused tracks might suit another voice if updated. There is literally an album's worth of more or less finished product, if that's the way you'd want it. Some great songs, even if in retrospect there is a sense that one can detect of them being written as part of the seduction of the person singing them...
     Within days there was a track on the radio which grabbed my attention. So reminiscent in some ways of this previous favourite band, though with a male vocal and an occasional 'House of the Rising Sun' melody. I was rigid with anticipation when the track finished, but it was one of those annoying occasions when the announcement had been made first and was not repeated.
     It took me a few days to find out, though the good press is everywhere. And no, the best unsigned rhythm section in the world ever have not found their moment in the spotlight.
     The band was Alt-J, the song 'Tesselate', and their album 'An Awesome Wave' is already favourite for the Mercury Prize, before the list is out. Very good, but maybe not quite up to that level of hype for me. Perhaps not a coherent body of work. Certainly no other tracks making me reminisce, and some make me appreciate even more the quality of Ben Howard. But the enjoyment of that brief moment was priceless.
      
  

Apologies and thanks.

I suppose it's that time of year when time rushes past because life is good. Something that was going to be updated at least weekly has suddenly jumped by three. Apologies to all of you who have been back to check, but thanks also. I really can't believe how many page views there have been in my distracted period. Hopefully I can make it up to you all.

Gosh, there's hope for all of us.

http://www.telegraph.co.uk/finance/personalfinance/fameandfortune/9415918/Rick-Astley-I-had-a-record-out-in-August-and-by-March-I-was-a-millionaire.html

Sad news that Marines, a band I've been tipping for success for the past three years, have split up. Here is a moving farewell from Tim, which contains a link to more songs. Puzzled by the vagueness of the reference to John, though I'm sure all will become clear in time. He has been an impressive character from a very early age, and I'm sure he'll succeed whatever adversity is thrown at him. Good luck to all the guys in whatever they do.
http://marinesrip.tumblr.com/

A Word of Caution

     It seems that currently there are a number of companies seeking potential talent in the music industry. At a time when traditional record labels are struggling, and more bands and artists are doing things on their own, there are still plenty of people seeking to develop a business opportunity. If you are contacted by anyone claiming to be A&R, or representing a company, then check out that company. You want evidence of a track record in the form of a rosta of artists and of releases. You would also want to be sure that these artists and releases demonstrate that as a label they are right for you.

     If they have no such history that doesn't necessarily mean they are a waste of time. They could be new set ups, often by an individual with a strong track record. That will normally be made clear on the website, but you can always ask. In such cases they are likely to be a very small unit, so you will be dealing with one of the proprietors rather than 'A&R'. Keep an open mind, but don't waste too much time thinking about them until they provide evidence that they are not time wasters.

     Avoid like the plague anyone asking for money from you, advertising 'sign for free', or who encourages you to sign a contract without urging you to seek independent legal (and/or parental) advice on its contents.

     Remember also that if a genuine record company is interested in you they are likely in the first instance to want to see you perform live at a proper gig, to an audience. They will always be prepared to come to you, and they will want to see how that audience reacts to you. They will not ask you to come 'for interview' as I have seen on one website, or for 'audition' in a sterile situation.

     Good luck, don't be in too much of a hurry regarding these issues, and try to make the right decisions. There will always be people around happy to help and support genuine talent without being on the make.

    

She Makes War

I was hoping to catch up with She Makes War this weekend. Unfortunately this won't be happening, so I'll keep my powder dry and pinch this inspiring interview from The Line of Best Fit. Many thanks!

http://www.thelineofbestfit.com/features/interviews/she-makes-war-99512

Vocal Arts gig

     A very pleasant evening, with four in their way interesting young voices during the time I was there. The level of accomplishment from the hobbyist performers was remarkable.
     A slight reservation early on that some of the more ambitious might be over dramatising their highlights could be put down I believe to the way the main mic was set up in the PA. That is a good prompt for me to learn more about the technicalities of sound, not a current strength. I only know what I hear!

A final humiliation.

     Sad to hear of the pulling of The Voice UK tour. This is even more of a mongrel than the X Factor road show circus, but one still has to feel sorry for the performers.
     It can't be in the best interests of a creative artist that the road to fame is by virtue of the audience engaging with the emotion of their personal sob story rather than with their voice or lyrics of one particular song.
     I guess Leanne can go back to Butlins or on to cruise liners with a few album sales under her belt. But what of those who really came through as potential recording artists through this? How much of a blow is the cancellation?
     If any aristocrat may have deserved the support of the public then it might be Bo Bruce, whose father became an unlikely folk hero in the eighties when he stood up for the victims of organised police brutality at the incident known as the Battle of the Beanfield. When he then gave evidence to protect them from further oppression via the criminal justice system he was described as a 'class traitor' by the Daily Telegraph. He successfully sued them too, though of course the guilty parties behind the original incident were never prosecuted.
     How is it that Will.i.am managed to make a recording artist of Tyler James, when the Brit School could not. I have concerns that the coaching and mentoring in an 'academic' environment may narrow the scope and range of an artist's development. It is a fact of life in any classroom that those who please the teacher get the lion's share of praise and encouragement. Not as a conscious thing necessarily, but as human nature on both sides. Another concern is that in these institutions there is there is a peer group situation, where perhaps 'Amy is a star and I'm not'.
     I wish them all well, but these two particularly.
     This evening I will be attending a gig put on by the local Vocal Arts College, something completely new to me. A chance perhaps to test out my preconceptions. I know already that there is one artist whom I know and like and another who I have been looking forward to seeing perform for some time, so I go with an open mind and in hope.

Creative Fractures

     I've posted recently elsewhere about how good things can come out of bands breaking up. To further encourage those who have recently found themselves in this position, here is a good example.

     One of the first acts I encountered on the East Anglian scene in the late nineties, was a dynamic young Indie band called Billion Dollar Brain. However there were clearly three distinct voices at work. So they were one to watch. Either they would forge a band identity or the talents on show would remain distinct.

     It wasn't too long before the separation took place.

     The artist currently known as Seymour Quigley found new collaborators and formed John Peel favourites Miss Black America. Often surprisingly described as punks, this was a ferociously articulate quality band, more reminiscent of an early U2 or Radiohead, and given an extra Edge by the recruitment of guitarist Gish to join the original trio. Signed to Integrity Records and growing in stature by the gig, they produced God Bless Miss Black America, one of the great undersold mysteries of the last decade.

     Touring and promoting this album and its three singles caused tensions which led to Seymour being left with no band and no label, but he wasted no time in recruiting the phase 2 line up, got on the road again, and found more support to record and release a decent second album, Terminal. There were further line up changes and the band carried on for a while, but I think it would be fair to say the potential of the early days was not fully realised.

     Subsequently the original three man line up got together as Ten City Nation, created a new sound and still play together. They were also joined by Gish for a 10 year GBMBA reunion gig in Brixton last October.

     Meanwhile, the second vocal and guitar Ben Miles, and drummer Bob Halliwell formed The Exiles, an edgy post britpop outfit who also became Peel favourites. Their scope for development was limited by employment obligations, and eventually they called it a day, but they were a real treat while they lasted.

     Currently the most interesting ex BDB artist is the third voice, bass player Laura Kidd. She packed her bags for London and gradually forged her own identity while also playing as a backing musician for higher profile acts. She is now clearly established as acclaimed video producer and artist She Makes War. She has just released her second glorious solo album Little Battles and her videos as seen on Youtube are highly recommended.

     A glance at her website www.shemakeswar.com also shows just how extensively she has been touring. This weekend she will be playing at the Eden Sessions and for those of us in Exmouth a guest slot at Martin Wellers Summer Sunday gig in Manor Gardens. Not to be missed.

Back pages.

Listening this weekend to one of my favourite live bands from the nineties, The Fat Lady Sings. Ten years on from U2's breakthough there was a much touted 'Irish explosion', helped in part by U2 establishing Mother Records to support this. I was fortunate enough at the time to be working with some great Irish girls, one of whom copied me tapes of all sorts of stuff I'd have struggled to get otherwise. For us these were the best, and they kept coming back to where we lived.

Take the best bits from bands like The Script and You Me At Six, add a little more creativity and the most intense, passionate, charismatic vocal imaginable; and you may have some sense of it.

The story goes that singer Nick Kelly took time off from his legal studies to spend some time in New York, and while there discovered the confidence to sing his songs in a bar, getting a good response. Back home in Dublin he put a band together and relocated to London, where they toured intensively and released two albums, Twist and Johnson.

They were just starting to break through to mainstream when Nick quit the band, saying that the lives of family and friends were passing him by while he was away and on the road. He has released a couple of acclaimed solo albums since, but while the quality of his lyrics remain the same, the passion and intensity of his work with the band is missing.

Arguably, in today's climate they would have broken through with the first album and the pressures would have been less. It was so hard to get mainstream radio play then, off playlist material being pigeonholed as the prerogative of John Peel, Jo Whiley and Steve Lamacq, with their evening shows. The opportunities and routes to exposure are more open now, though of course more artists are working to exploit them.

On the positive side the songs are still there to listen to and enjoy. There is a wealth of less well known  material out there to play with as an 'influence' and to exploit as more obscure covers.  

Mission statement - you and me.

     The music business is for creative young people, at least that part which I am interested in most certainly is. So why should my musings be of interest to this target audience? Why should you want or need to take notice of what I have to say?

     My answer to that would be pick and choose. The purpose of this blog is to support potential artists in ploughing their own furrow; to subvert the process that is drawing talented aspirants into the game show, or even the ‘Fame School’ route.

     I have been watching these shows out of curiosity over the last couple of years, though previously I had shunned them, and have been startled by the destructive effects of the pressure applied and the knockout process.

     I have also, even in this last week, had the opportunity to contrast the qualities of a naturally beautiful and interesting voice with one that I found over taught. The nervous twelve year old was to me more interesting by a mile. She is in good hands and can be left alone to develop without pressure or interest. She is not the only one in recent weeks who has blown me away by the sheer quality and potential of her voice over a backing track, although this has never happened before.

     On and off over the last twenty years I have been supporting and creating opportunities for young musicians to perform their music, and to get it heard by a wider audience.

     From one chance encounter in a pub, where I was persuaded against my better judgement to act as ‘manager’ for a seven piece ‘crusty’ folk rock band, I have acted as promoter, booking agent, A&R scout and festival organizer.

     I have seen very distinct approaches to the scouting process, some cynical. I have experienced that spine tingling moment when discovering something truly exceptional; seen bands develop that I thought might not, and witnessed the despairing performances of others who found themselves in the ‘last chance saloon’.

     I have even bashed non standard percussion instruments in song writing sessions and sung otherwise unperformed songs of my own in boozy garden party sessions.

     If this is enough of a CV then please read on.

     What prompted you to have a look at what I have to say?

     Obviously you are a music lover, or you would not have found your way here. Presumably you also perform in some way, or wish to. I’d be surprised if you didn’t have some rather ambitious dreams, however hard it might be to admit that, even to yourself.

    If you are not yet performing, ask yourself why not. There will be no reason that cannot be overcome. If you don’t play an instrument and don’t feel you can sing then the obvious first step is to learn something, have lessons or teach yourself.

     If you can sing, or are comfortable enough with an instrument to contribute, you will have much more fun messing about with others. Join a local group, if one exists, or check the ads in your local music shop. Maybe an existing band needs you, or perhaps you can advertise to put one together yourself. If you surround yourself with like minded people then that first step will be so much easier to take.

     If you are already in a band, or are contemplating performing as a solo artist, are there enough places to play? Open mic nights give an opportunity to perform in a supportive environment without having to prepare a full set. Are you able to attract an interested and loyal audience? What are you going to play? It’s easier to copy or adapt a cover, and this may make it easier to engage an audience, but to write and perform your own material may be more fulfilling.

     While this first post is pitched at those at the beginning, ‘a jolly good place to start’, the dialogue will hopefully become just as useful to those already out there. With a sharing of experience which will be beneficial to all.

     We will have a few participating acts, who will be willing to share the trials of their artistic development with us. I will have direct communication with these as well as consultation with expert opinion. Those who wish will also be blogging about their growth, their journey. And it will be their journey. No excessive influence will be attempted. Acts with no public profile might do this under an alias to preserve privacy, but their choice if they want to be out there. There are some acts and artists I intend to approach about this, but if you wish to put yourself or selves forward then please message me direct.

     I also hope to call on a few old friends for perspectives on how a life in music is still possible and fulfilling if those dreams don’t come true in their original, conventional sense.

     Whether a participant or an interested party do feel free to influence the direction of this blog by challenging points or asking questions.