David Byrne’s Survival Strategies for Emerging Artists — and Megastars

There is nothing new under the sun

This isn't really a new blog entry in that the article being referenced is from late last year, and in fact, I discussed it back then with my music friends. However, the topic of "360 deals" has come up a lot lately so I looked for this article to get a clearer definition (unfortunately, that does not mean I've been offered a 360 deal, not that I would take one!).

My favorite parts of the article are right at the beginning, where he talks about what the music business is today (second paragraph), and the sections "What is music?" and "What do record companies do?" The entire article is worth reading however, whether you're just starting out or if you're a "megastar."

David Byrne's Survival Strategies for Emerging Artists — and Megastars

Tue, 2008 07 29 at 3:21 AM |Permalink for this entry

Writing the Blues

Ya gotta start somewhere

I think most people who write songs, especially for themselves or their own band, just write what comes out. I know I've done it. What you write on will be based on what you know and what's familiar to you. However, if you like a certain style of music but have no idea how to play it, you probably won't be able to write it. You may be able to mimic it, but how well you are able to do this will depend on how knowledgeable you are about it.

For me, the music that moves me the most, the one that I feel reaches to my core, is the blues. Despite what some people think, there is a lot to the genre. I've previously discussed some of the studying I've done of some artists. What I've also done is to focus on writing pure, straight, blues tunes. I've actually ignored some ideas I've had that looked to be other types of songs, because I want to focus on the blues songs for now. My goal is to make the blues part of the core of what I write so that when I write something that's not pure blues, it comes out "bluesy." I want to write songs that are blues songs without even trying, just what comes out naturally.

To be honest, I don't even know if it's possible. Now that I think of it, it kind of sounds like I'm trying to program myself or something like that. I guess it doesn't matter, though, as long as I write good songs and learn in the process while I'm at it.

Wed, 2008 07 23 at 11:01 AM |Permalink for this entry

Practice Space

If I could afford a bigger house, I might not be hanging out with you lot.

Last Saturday Blue Funk played at a practice space about four miles from here. Since the beginning, we've been playing in a room at our house that's about 11 foot square. Even worse, it has hard-paneled walls, which are pretty reflective acoustically. We struggle a bit for space, as well as balancing the mix. What would be normal volumes for instruments such as electric guitar and drums can be quite loud in such a small space. It is difficult to get the vocals loud enough without them starting to feed back.

So playing in a larger space, even one we had to pay for, seemed like it could be a solution. The rehearsal space was about 27' by 16' and as it turned out, not bad at all acoustically. We were able to play at more natural volumes for most instruments, and get a good balance overall. There were some glitches, the PA was noisy with my keyboards plugged into it, I couldn't hear the drums the way I would have liked, and while the recording came out decently, the left/right balance of some of the instruments wasn't where I would prefer them to be (drums and vocals should be in the center, not to one side).

For me, this was the first time I've ever had to move all of my gear. When we've done the open mics, I've just taken some basics, but this time I pretty much took my full rig. Loading that and Lori's gear into our car got us soaked. That's living in Houston for you. But this also meant that for the first time, I was the last person ready to play instead of one of the first. I suppose all this is something I'll just have to get used to.

However, the biggest negative that came out of the session was that it seemed that none of us "felt it." I can't say why for sure, just some guesses. For me, being sweaty and sticky can make it hard to do something "comfortable." Also, once I got set up, I had to start playing more or less right away. I suspect that in most cases, if I was playing out somewhere, I'd usually have a chance to set up, relax for a few minutes, and then go play. But none of these reasons explains why the rest of the band didn't feel it either. Some suggested the new space, just because it was something different. But I'd argue that a band that plays out has to deal with that all the time. Maybe it's just something you get used to. That would explain why some musicians/bands bring a "little piece of home" with them on the road and stage, to make themselves feel more comfortable.

Another theory I have relates to the rhythm section. If the larger room made the drums and bass less distinct, that may have "drove" the band less than normal, and without that drive, we may have floundered. It wasn't that I couldn't hear the rhythm section, but perhaps we weren't feeling it.

The good part is, we sound fine on the recordings. If someone came to see us play and we played like that, I don't think there would be complaints. That says something good about us, I think!

There were a few voices that said they didn't want to spend the money to play every time we got together, so it looks like it's back to our house for jams for the most part. Lori and I are talking about other options we may be able to do here, but deciding on what will not happen overnight. I don't mind not having to move my gear, that's for sure.

Mon, 2008 07 21 at 7:44 AM |Permalink for this entry

Houston is “Special”

Houston Press article discusses the scene, or lack of it.

I thought this cover article in this week's Houston Press was interesting and worth sharing.

One thing he only briefly touches upon is the "relative shortage of traditional college students." I think that's a big factor. While Houston has tons of colleges and thus many college students, most of the students are commuters and thus have very little sense of community with their college or with their fellow students. The only school that seems to have an area near it is Rice, and a) that's a relatively small private college, and 2) the area is mostly shopping, not really places for college students to hang out. Compare Houston to cities like Ann Arbor, Lawrence, Austin, and even San Marcos and you'll see what I mean. Combine that with Houston's sprawl (which he does mention several times) and you have students who don't get involved nor look for anything to do together.

I can't bring myself to agree with the statement that Houston has, "about five (if that) really good bands." I've heard that before, and let's be real, that's a matter of opinion and depends on what you like. It also depends on what you mean by good bands. Is that bands worth seeing, or bands that you think are going to "make it big," or something else?

While I do agree that Houston does not have the music scene it should for a city of its size, it's not non-existent, either. It does require that a band that wants to make it here work a bit harder, and probably drive a bit more to cover the places around town they are suited for. Other cities that have music scenes likely evolved them naturally, and only later received general help (such as Austin promoting itself as "The Live Music Capital of the World"). I doubt that any music scene consciously was created anywhere and I don't expect it could happen here without a lot of time and investment, investment that would require multiple investors (a.k.a. rich guys I don't know and can't convince to spend their money).

If you have any comments, agree or disagree, use the Contact Me link above. I may add the ability for people to comment in this blog at some point, but I have not got a round tuit yet.

Fri, 2008 07 11 at 2:58 AM |Permalink for this entry