DFW Drums Blog

Off and running in a big way....

2011-05-25T13:55:00.000-07:00

It's really happening. Falling Upstairs is back! The band has been ramping up with steady gigs and preparing for bigger and better things ahead.

We've taken some gigs I'd rather not take and running sound from the stage in order to work on the stage show, the set lists and the performance aspects with a big light at the end of the tunnel.

Through determination and perseverance, Steve has landed us a gig at Down Under Pub in Frisco on July 20th.

We're super excited and will be working our asses off to present the best show possible. I knew it would come at some point, but we are back in the "A" rooms again....sweet!

Is What I Get

2011-03-10T14:10:00.000-08:00

The moon and the stars have truly aligned. I feel as if I'm living a dream. In just a few short months with much hard work, my new band "Falling Upstairs" is a reality. A strong, talented and dedicated group of musicians have gelled so well that we're show ready and BOOKED!

Not just booked, but BOOKED! The demos are being well received and clubs seem eager to have us on their stage.

Thanks to Mike 'Groover" Hoover for believing in us enough to put forth the hard work necessary to take on a very difficult task. Bass guitar in a band like this is not easy, but you are making it sound that way.

Thanks to Dave "Comedy" Brown. Dude, you were there at the right time. When we needed someone who could guide us musically, you pitched in and made it happen. You know exactly how to play guitar in a track project.

Thanks to Keli Peacock. Your countless hours of talent in building the logo, the web site, for the long hours in rehearsal of handling the show, being there during the show when I needed you, herding T-shirts and all the other chores that go along with putting and keeping a band together. Your priceless.

Thanks to Steve Mitchell. I can't believe we found each other in an endless sea of redneck rock bands. I still can't believe there is someone out there who not only wants to do sophisticated pop/dance tunes but actually sees the value in it. You have taken 10 years off of my age. It's been an absolute joy working with you and seeing this through.

Thanks to all the FU fans. We'll be seeing you real soon thanks to all the great people mentioned above.

What I want

2010-09-06T09:47:00.001-07:00

This isn’t complicated. People who inquire about my services often ask what it is that I’m looking for. I can honestly tell them that I’ll know it when I see it. But that’s not fair. They asked a pointed, direct question and the question deserves a pointed, direct answer. This will not be pointed and it will not be direct, but it will be thorough.

First let me tell you what I DON’T want.
1) I don’t want to play for a band that asks for a “Hell Yeah” and get’s one
2) I don’t want to play in a band that takes a “pause for the cause” or reminds patrons to “tip your bartenders and waitresses cuz they’re working hard for you so you don’t have to”.
3) I don’t want to play in a band that plays “my favorite song”.
4) I don’t want to play music that was recorded before most people in the club were born.
5) I don’t want to play a song because “you can’t be a band in Texas and not play this song”.
6) I don’t want to play in a band when the singer looses his place in the song so he just repeats the lyrics to the first verse for the second and third verse.
7) I don’t want to play in a band that plays songs by request when the lead singer requests them because that what he wants to hear.
8) I don’t want to play in a band that plays their favorite music instead of the patrons favorite music.
9) I don’t want to play in a band that keeps playing the same songs in the same order, the same way every gig.
10) I don’t want to play in a band that doesn’t aspire to improve and doesn’t aspire to play better venues.
11) I don’t want to play in bands that plays to this crowd:

So having said that what I do want is to play in a band that:
1) Wants to play in “A” rooms, knows what the “A” rooms are and what music bands are playing in “A” rooms.
2) Plays music recorded this century and is popular by young crowds.
3) Plays older music that “Sells well” with younger patrons.
4) Rehearses to be better, consistently works up new songs including creative arrangements to put their own signature on the music.
5) Doesn’t mind tracking the band to “thicken’ the sound.
6) Either has a sound engineer and runs the sound from the stage with precision
7) Speaks to the crowd with creativity and sophistication
8) Can play authentic requests from the crowd and doesn’t talk down to them
9) Varies the set lists and turns the lists over every 6 months
10) Play each song with enthusiasm, vigor and precision
11) Plays music to this crowd:
It isn't difficult.

Ok… so I peek a little…

2010-08-25T10:20:00.001-07:00

I can’t help it. I wanna know what other drummers are looking for gigs right now, what they’re looking for…you know, sizing up the competition as it were.

Besides it makes for great, entertaining fodder for the blog. This is something I just stumbled across this morning. It’s classic.

This drummer is looking for “like-minded” musicians. The drummer lists his experience, his preferences and his dislikes, goes on to describe his influences, distances themselves from the normal Dallas music and then drops this little bomb…”I do have demos but want to hear your stuff first to see if I will even consider it. No ego here, I just know what I want and don't want.”

Expressing your desires and dislikes is the definition of ego. But I submit that maybe this drummer might be on to something.

By setting himself on a “self important” pedestal, this drummer may be creating an illusion of “greatness” that might not otherwise exist, thus making themselves a coveted target. Not just that, but this drummer may be pouring a foundation of further iconism whereby the drummer is not only sought out by the great unwashed musicians, but worshiped during the tenure. The drummers words shall always ring true and others dare not question the wisdom. The drummer may require and demand respect not earned and can only lead and never follow.

Or, this drummer could just be a “turbo-douche”.

Goodbye Gravity… we hardly knew ya

2010-08-16T11:03:00.001-07:00

Just hours before my planned resignation from the cover band I’ve been gigging with for the past year, the band leader called me and said they wanted to go in a different direction with a drummer.

My immediate thought was, “you’ll never go in a different direction”...that's why I'm leaving". My immediate reaction was, “this will save me a phone call on Tuesday.'

I planned to stay for the next two gigs, I had an overwhelming feeling during the last song Saturday night that this would be my last time on stage with these guys. And since they instigated the seperation and not me, I would feel awkward now playing on stage with them again.

It was an amicable parting. If there ever is any such thing. It's unfortunate that we couldn't find a way to stay together because I genuinely like these people. But they just won't move forward. During my year tenure, we played pretty much the same 48 songs, the same way, in the same order every gig. Not much ever changed. It seemed to me like nothing ever would and my tank ran dry.

For example, we only played four songs Saturday that we didn’t play the first time out last August. I just can't play those songs anymore.

In any regard, some friendships will endure. These were not unpleasant people. I enjoyed their company. I just didn’t share their passion for “vintage rock”. Forget "classic rock". When the song lists "averages" 30 years old, it's "vintage rock" bordering on "fossil rock".

I’ll take a healthy break and start searching for the next thing.

Ladies and Gentlemen....Welcome to the Stage, "The Room Emptiers"!

2010-05-25T06:26:00.000-07:00

I read a book a few years ago....imagine that, a drummer who can read...called "Brand You", a simple guide to realizing that you are your own entity. The place you work for, or in my case, the band I play with, does not define who I am.

I'm Mike Peacock, drummer, currently playing with the band, "fill in the blank". Actually not a bad name for a band... but it could be anyone.

Just realizing that thought pattern makes things a little more tolerable when bands that I'm associated with begin to venture down an unhealthy path.

Such is the case now. When I agree to go forward with a band, I usually tell them, "Look, I'll give you 90 days and you give me 90 days. Past that we'll take it a gig at a time". I learned that from Alan White who told Yes the same thing almost 40 years ago. He is still with the band. Apparently, it's still going pretty well.

I can't say the same thing with the band in which I'm currently associated. In just under a year, the band has gone from an expanded, more up to date playlist, to converting right back to where when we began. Playing the same old, tired songs from the 70's and 80's... songs that are 30 to 40 years old. Songs that comprised the entire set list a year ago.

This band went from wanting to get better, edgier, more current right back to "brickhouse", SRV, "mustang sally".

Interestingly, it was one of the band member who put it in perspective for me. He suggested that people play that music because, 1) it's easy to play, 2) it's what they know how to play and 3) it's the first songs they learned how to play. That made perfect sense to me.

I've often said that entertaining a crowd has nothing to do with the what the people on stage like to play or even listen to ... it's what the crowd wants to hear. I think the concept really is quite simple, yet so elusive.

Another case in point. Because this band has reverted back to the comfort and convenience of the original set list, this is what happened last Saturday night at our gig. We took the stage at 10. There were well over 100, perhaps even 150 people in the bar. At 11, when we finished out first set, there were about 50 people in the bar. By the end of the third set, there were about a dozen people in the bar.

That's a real kick in the teeth, especially when you know there is nothing you can do about it.

I was talking to the band-mate who made the earlier observations during the first set and asked him if he noticed how many people left during the first set. He admitted he did. He asked me what I thought we needed to do and again, I suggested the set lists are just too old and worn out. He asked what I thought we needed to play. That, I told him, is the age old, 64 thousand dollar question. I said, "The only thing I know for sure is that I don't know WHAT to play. But I sure know what NOT to play".

He nodded in agreement and we went back in to empty the room some more.

There's a misguided notion among some bar managers that it's a bands job to bring in the crowd and I disagree. It's a bars job to bring the crowd, it's the bands job to keep the crowd there. We failed Saturday and were paid for failing.

Which is why I'm leaving this band. I cannot, in good conscious, take money for running off paying customers.

It would be nice to find some people who play music well and understand the simple concept of what it takes to keep patrons in the room. I'm finished with bands that don't. Abiding by this simple rule may lead to my retirement earlier than I wanted.

Damned if you do and damned if you don't....

2010-05-24T14:35:00.000-07:00

I may have said this before, but I’ll be damned if you do and I’ll be damned if you don’t. It’s the razor fine line a drummer walks when searching for a new project. I’ll admit that my fellow drummer brethren have not made this easy. Drummers have a bad reputation for being more than flaky, egocentric, unreliable… should I go on? You get the picture.

But for those of us just trying to find a suitable gig, the going keeps getting tougher, the hill just keeps getting a little steeper.

I recently posted a ad on Craigslist… one of the worst ways to find a gig….but what the hell. Now I’ve written plenty of ads in my life. I’ve learned a lot about posting ads. Display too much and you’re judged harshly before picking up a stick. If you want some responses, be a bit more vague and you develop, at least, an opportunity for some dialogue and then maybe you can talk your way into an audition.

People…being people and thus never satisfied will find fault with either approach.

This was the case just today when I posted the following ad:

“Stage and studio experienced drummer with pro gear. I’m mature, dependable and in an on-going odyssey to find the same in a good, local cover band. No country, metal, punk, classic or angry rock. I’m dedicated, reliable and easy to get along with. I have a flexible schedule and I’m a musical workaholic. If you’re serious about your music and are looking for someone who can plug right in, I might be your next drummer. Your complete details get mine in return.”

Succinct. To the point. I thought a pretty functional ad…until I got this response:

“Instead of saying "No country, metal, punk, classic or angry rock" why don't you state what you do play.

From the perspective of a band looking for a new drummer it's a bit of a turn off to read all the negatives. As a "musical workaholic" myself there are certain songs in just about every genre of music that I can listen to, although I wouldn't want to play in a 100% country band there are still country songs that I appreciate on some level, same with Metal, punk, and classic Rock.

I mean what's left,.polka.reggae.disco?

And can you be more specific about your age, your equipment, how long you've been playing, what music you do like, how often are you looking to gig? Can you sing?

I couldn’t take this with a grain of salt….especially since it came from someone I not only know, but have played music with before…of course, He didn’t know that until I responded to his response asking him if I should just run all my ads past him before posting…

A “smarmy” response from him ensued.

It’s all part of playing the fun, wonderful games of trying to play music.

That’s why when people find good music situations, you have to pry their dead fingers off their instruments to get them off stage. They’re so precious and so few and so elusive.

Good times.

Very Simple...

2010-04-04T09:45:00.000-07:00

Its become very apparent to me...again, that the success of covers bands lies in direct proportion to who they are trying to please.

I understand that a lot of people play in cover bands to play music they want to play and listen to. If a club patron happens to wanna hear a song then all the better. Chances are though, that the band is playing to please themselves and not necessarily their audience. It's what I call a "live jukebox".

It has been painfully proven to me again and again. I'll be playing a cover song that has been worked up...with no regard for what an audience might want to hear. Subsequently, we'll play the song...play it well and be largely ignored and in some cases, I've seen people leave the club...and I wonder if the band has run them off.

I might be putting way too much thought into this, but it has been a recurring theme of many bands that I've played in. Song selections are made based on what the band wants to play. Few songs have been chosen based on what an audience might want to hear.

I also realize that people singing the song can only sing what they can sell and there is a lot of variations in style, ability, pitch, scale, etc that must be taken into consideration.

But the sad truth remains that a band can only be as successful as their ability to please an audience and thus must remain nimble, open minded and respectful that other personal music preferences might not sync with their own.

I think for a cover band to be successful, they have to set aside their own personal preferences and learn to play what people want to hear. Not just people in general, but specifically people who frequent the rooms the band plays.

Radio stations don't necessarily play songs they want to hear... they play songs that have been researched to appeal to their target audience. So, I think it's incumbent on bands to first define their target audience and then research what that audience wants to hear. Once that is known, then song selection becomes easier and even fun.

Until that happens, cover bands will flounder, wondering why they can't get gigs, repeat gigs are get removed from a clubs schedule. No one will tell them that their set list is outdated or unappealing. They'll just be left out in the cold to wonder where all the gigs went.

Drummer Killer Needed

2010-02-26T07:20:00.000-08:00

Had to pass this along. As a drummer, I have no idea what this guy is talking about...but I do hear stories...

Looking for someone special who would kill my drummer for $100.00. Do not fear any negative consequences for this act. Any self respecting law enforcement agency would gladly turn the other cheek once they hear this guy "play".

I am tired of hearing his 70's style fills put in the wrong spot and ending one half beat early or late depending on how much he's had to drink. I am tired of him standing up behind his drums between songs and ripping his shirt off and flexing his muscles at wedding receptions where we are hired to play Air Supply, Carpenters and Anne Murray songs because "chicks dig the pec's dude".

I am tired of him showing up 20 minutes late for rehearsals and then pouting until someone helps him load in his drums, then taking 30 minutes to set them up and needing a smoke break every 15 minutes, then wanting to leave early because "this chick is so fine, I can't say no and she knows record people dude, so it's for the band".

I am totally done with him calling me at midnight to play me some damn jazz fusion album from 1981, crying and saying how we shouldn't have sold out to "the man" and asking if I know anyone who can get him some weed knowing full well I smoked twice in 69 and never touched it after that.

I am sick of him farting on stage where the drum mics can pick it up and thinking this is funny. I am tired of kicking off slow ballads at well under 80 bpm only to have them morph into a methamphetamine version of 'flight of the bumblebee' because that's the tempo his feels it at.

I am tired of having to carry jumper cables to the gig because "I must of of left the dome light on again, dude" instead of admitting his 1984 Oldsmobile is a worn out piece of crap. I am tired of him asking when he's gonna get a drum solo. I am tired of paying his tab at restaurants because "that chick must of stole my wallet man", but she was worth it 'cause she was a phreak"..

I will not move my amp again so he can put another new cymbal on the stage because "when we learn some fusion, I'll need this sound".... Please somebody, kill this turkey. I can't do it because he's my brother and my mom would be pissed, even though she thinks the band would probably sound better too.

Besides, if you are good at killing drummers, you could probably make a lot of money in this town.

Allegedly posted recently on Craigslist.

Holy Sh%t! You just cannot make this up!

2009-12-08T15:42:00.001-08:00

Oh, I had to capture this quickly, cause it won't survive the break of day. A "drummer needed" post so absurd, so maniacal, so insane, it's damn near indescribable. So without further delay.... (with my comments in parenthesis)... I bring you....(drum role please)...

Need a real drummer, no little bitches allowed

thats right, just as the title states. we have gone through several "musicians" who either didnt have the chops to keep up and play on a professional level, or they were whiny little bitches about too many things. (like being in our band) we have some great things coming up for our band, and we need a drummer who is 110% dedicated and serious (cause you ain;t gettin paid....bank on it). here's a few ground rules: 1)if youre in an original local band, dont expect to be paid (see, I told you), and if you do be grateful (better yet, just give it to the rest of the band) ; these business's that let you play on THEIR stage, using THEIR equipment, and they're paying THEIR sound guy to set it all up...what is their incentive to pay just another among dozens upon dozens of local bands something just to play there? (I mean aside from making a load of money off their alcohol sales) throw some ice on your ego and deflate your delusion that you're already a rockstar (You're not and we can prove it...cause we're not) ; being paid to perform despite how many people you bring to the show is something to work towards (you know, when you're pushing 50 wondering what you did with your life and your musical talents)..if you want that, join a cover/variety band; thats what theyre for (getting paid). so dont be a little bitch about "getting paid" (see, I told you...bitch)...make that a goal instead of your short term unrealistic solution. (Yeah and try to achieve it in your lifetime, bitch) 2)have a car, or some sort of transportation. (Mom says we can't pick up any more friends who act weird and smell funny, bitch) 3)have a way to put gas in the car, bare minimum; (Mom says she ain't got no money tree in the backyard, bitch) we'll work out other expenses as they come. (Rest assured, you'll owe us, bitch) im not even employed myself (Shocker), but i still manage to have money one way or another to get to every practice and show. (you just have to pull the hood up over your face in the 7-11, bitch) 4)HAVE YOUR SHIT TOGETHER. if you do drugs and it rules your life, getting that next high, you wont mesh with us, or if youre an alcoholic, or if youre a flake, or whatever (uh, what was I sayin'?...Oh yeah, bitch) ...if you cant devote yourself to a band because of ANY reason, including a wife or family that will hold you back, please dont bother (maybe after your divorce, we might talk to you, bitch) ..we need that level of commitment for how serious we are about this band. someone who can go on tour if need be. (and pay for all of us, bitch) 5)be a real musician...please? (I thought you were looking for a drummer) if your timing is off, or you cant play to a click, youre not where you need to be to play with us. (cause we goooood, bitch)we dont expect Dethklok double bass drumming, but a little double bass ability would be nice. (bitch...sorry, just had to throw that in) 6)i think having your own kit is an obvious requirement (sticks too, bitch)...but where we practice, in grapevine, there are a couple kits you can use for practice (the rent is real cheap, but so are the kits, bitch) so you dont have to lug your kit around each time, but you will need to for shows. (lug your kit to the shows, bitch and don;t bitch about it) 7)we got nothing against you older rockers out there ('cept you're old and you're rockers, bitches)...but we need someone to fit an image (You know...a bitchy image), as we are aiming at the mainstream hardrock/alternative metal genre (thus you being our bitch) ; please be between 21 and 30 (we like our bitches young and juicy) I think that about covers it...were really nice guys (can't you tell already?) and were very laid back and easy going (just a little crabby...I mean bitchy), just extremely aggravated with all the bullshit thats been thrown at us recently (with bitchy drummers), so thats the reason for this approach. :) (they even made us print the smiley face...the bitches) anyway, you can check our tunes out at www.myspace.com/ksjdfkkd so if you think you can make the cut, get back at me (bitch), preferably through email here to keep things organized; thanks! (don't make me have to come get all bitch on you bitch)

Everybody wants one, no one can have one

2009-11-30T07:36:00.000-08:00

Being a drummer, I've heard all the jokes. Most make me laugh, some make me cringe. There's a lot of truth in humor.
I completely understand that my brethren have made cause and case for the often used label, "flaky". I prefer "crunchy", but "flaky" it is.

There is, however, a menace to the the music world that out-flakes all other species in the flaky music kingdom. That of the keyboardist.

This ever elusive creature stirs about without "people skills" necessary to carry on even the most benign of conversations. The keyboardists demands are great and expectations even greater. This is without a doubt, the "holier than thous" of them all.

Clever too. Those who seek to capture a keyboardist soon discover that it is the keyboardist that has, in fact captured them. They're quick to overcome common sense. Quick to charm those around them with melodic sounds giving reason and meaning to music, even adding enormous possibilities that never before existed.

Lo, once this musical beast has lay root and captured the hearts and minds of those around them, the games soon begin. Like a lion plays with it's food before consuming, the keyboardist soon begins to lay the foundation for their future relationship within the new tribe.

Practice? Keyboardists don't practice. Practice is for the weak and foolish. Practice takes time and effort and the keyboardist has neither... For the keyboardist has "skills" and never makes mistakes.

Start-ups? You amuse the keyboardist like no other. The keyboardist simply swats away the notion like one would a pesky housefly.

Ideas? Now you're just really getting on the keyboardists nerves. The keyboardist doesn't want to hear your ideas. They only want to speak their own ideas. Everyone must listen, savor and employ the keyboardists ideas.

New songs? You anger the keyboardist. There are no new songs worthy of the keyboardists efforts. The keyboardist has spent an entire lifetime... often times, many minutes, perhaps even a few hours, learning the songs they already know. This is enough for the keyboardist. You must play what the keyboardist already knows.

Pay? Now you're talking the keyboardists language. You must not only pay but sacrifice to keep your keyboardist in the fold. If that means others must suffer...so be it.

Commitment? This fascinates the keyboardist. Surely everyone knows and understands that no one entity could ever completely "possess" a keyboardist. No. The keyboardist must remain free and untethered to ply their immense talents to others...many others. For you see, the keyboardist lives to capture the hearts and minds of all who would believe the notion that to have a keyboardist is necessary in the musical world.

I once thought I might become a keyboardist. I toyed with the idea of joining the elite group of artists and zen masters who mesmerize, seemingly effortlessly and gifting all who will hear the magic contained in their fingertips.

Sadly, I can't. It turns out I have a heart and a soul.

Join a Band...Get your arse kicked

2009-11-19T07:41:00.000-08:00

This forum....writing my thoughts about drumming and the DFW music arena is more for and about me than any potential readers. It may have no readers at all and that's fine. It's my outlet to say things that rattle around in my head and would stay in there, rattling around, if it weren't for this blog.
So, I feel I can comment on anything without repercussions. After all, these are my opinions and not necessarily those of this station.
As I usually do everyday...I'm trolling through the musician wanted classifieds on line and run across this little jewel. I'm telling you (or me...whoever is reading this) this stuff just cannot be made up.

Again, I'll post the ad verbatim, in it's entirety and add my comments through a drummers ears in parentheses.

The headline is: established local band seeks solid drummer (I'm gonna have to knock of 10 points for mis-capitalization)

We are an established local band looking for a solid drummer with finesse and a strong work ethic. (So far OK...might be a promising opportunity) We open national and international shows regularly (uh-oh, look out for the embellishment...she's gonna blow) as well as play a great deal of local shows in general. (as opposed to playing a great deal of local shows in corporal) We are looking for a competent drummer (that will lay down at the door so we can wipe our feet on him as we enter the room) that is capable of playing out of town shows on occasion (paying your own way and loaning us some money to travel) as well recording and furthering ourselves as a band and musicians. (We can't do this by ourselves) We are not simply interested in being local but going as far as possible with our music. (All the way to Waco, if possible) We are all very dedicated to this vision and expect the same from possible candidates. (Look we're expecting "ones" and "ones" of candidates, so we're gonna strike as much fear and intimidation into you as we can) Please no drug users ( social drinking is acceptable as long as it is in moderation) (and you supply the beer at every rehearsal) no egotistical fu#@s (confidence is ones ability is one thing, an ego will get your ass kicked)(ooooo, can I get my ass kicked, please), must be able to show for practice at least 3 times a week (exceptions will be made for certain events, things do happen that no one can control)(Death for example....we would excuse your absence due to your death, but don;t let it happen again), Must be willing to pay your share of the rent for practice space (Rent as of now is $50 a member and due the first of every month, no exceptions) (And if it keeps going up, don't worry...everyone is paying the same amount...as far as you know). If you feel you can abide by these requests, please contact the e-mail (m******75@yahoo.com) address given and we can get you samples of the material (not completed songs, just samples....we don't want you THAT prepared) we already have and would be more than happy to setup an audition. (So we can kick your ass)
p.s. if you can't play a blast beat (at least 400 BPM... accurately) or count past the number blue, (the number black follows blue, right?) don't waste your time or ours. (We'll be just fine without you...we'll just kick each others asses)

The "frailty and fragility" of keeping a band together

2009-11-17T06:54:00.001-08:00

I've been married a long time...a long time. I've always said it's the most difficult job I've ever had. It takes a lot of hard work to keep a marriage going and going in a positive direction.

I've also been in a lot of bands and it's a lot like a marriage...only worse. Because in marriage, you only have to deal with one other person. Over time, you can learn more about them and they you. You can adjust as needed and they can adjust to you. You can concede, bargain, negotiate, reason, argue and hopefully find common ground to move along.

Now multiply that by 3, 4, 5 or more. It's not possible.

The Rolling Stones, Rush, Yes, The Eagles....they're all anomalies. They have persevered. Oh, there have been rocky roads...even personnel moves all made for "the good of the band". They're have been hiatus', even break-ups and reconciliations.

It probably takes no more than the two hands to count the bands who have successfully remained together through two decades. You wouldn't need more than one hand to count the bands together for three or more decades.

I was reminded...again, yesterday just how frail and fragile a band can be.

I learned many years ago that you should never stop looking for your next job and you should never stop looking for your next gig. It's smart advice and I think it has a lot to do with the creative ego and with expectations. Be it reasonable or unreasonable....met and unmet. It also has a lot to do with honesty and the inability to apply it in a band environment.

It's unreasonable to expect my sole allegiance to any project. Unless you're paying me a full time wage, I consider myself a contract employee. I'll spend my own time to come up to speed with your material, but my talents are not free and when the band plays, I expect an equal cut of the nights proceeds. I'm also free to do the same thing with any other bands who desires my services.

I've never understood the whole "you belong to this band" mentality. I've also never understood the negative connotation of the "hired gun". We're all "hired guns" none of us have security within any project...each of us could be replaced easily and quickly. In fact, I've heard it said many times that "every time a change is made, we got better".

I'm a music whore and I play for money. I'm playing songs right now that I hate. I'm not kidding. I hate the songs I play. I thought if I ever played some of these songs ever again, my arms would fall off. For every song in the playlist that i like there are three that I hate.....HATE. But I play them with vigor. I play them with a smile on my face and I play them like it's the last song I'll ever play. The set lists have nothing to do with me. Never have, never will. It's all about playing what the listeners want to hear and facilitating their enjoyment for the evening. The songs I hate....well, at the end of the night, I'm handed some cash to take the sting out.

A very well meaning person asked me recently if my band would like to play their venue. "It doesn't pay", she said, "but it does provide great exposure". At first I playfully responded that "I shouldn't be exposing myself in public anymore". Then a little more seriously explained, "When I went to the music store to get my drum kit, I asked them if I could have it for free and play it for the exposure." "They told me no, I'd have to pay for it."
A little embarressed now, this well-meaning person admitted that the pitch doesn't always work, but it's worth a try because sometimes she gets a "yes."

So, it's nothing short of a minor miracle that bands stay together for 6 months....a year. It's no wonder that personnel changes don't occur more frequently than they do.

It's hard enough to find two people who'll agree on enough issues to stay together in a marriage for a long time. To find 3 or more people who can agree to stay in a band for more than a few months...well, the honeymoon period for a band keeps growing shorter and shorter.

Weirdness times eleventy...

2009-10-26T07:25:00.001-07:00

I know why people stay under the radar on the usual sites while looking for bands or musicians. It's to escape the weirdos that will call you on the phone drunk, stoned or both....or will call you blathering incoherently about the bands or needs.
I choose to stay pretty open posting my web site in my ads which contains my phone number but NOT my address. I get mostly e-mail inquiries but an occasional phone call...none of which has ever been "normal'....whatever that is.
I got a call last week from a guy looking for a drummer. We talked cordially for a while and then he told me that he's seen my ad for a long time. He asked me why I've posted so long (a legitimate question). I told him I'm looking for a very specific project and just haven't found it yet.
He then offered that "having ads up so long makes you look bad".
Telling him that "I don't give a crap how you think my ads makes me look"...even now, seems insufficient.
Enter "click, then dial tone" here......

New and Improved reasons why Guitar Center Sucks!

2009-10-17T11:34:00.000-07:00

I've been a business owner. I've dealt with customers in that capacity and I know how difficult and unpleasant it can be sometimes. I'm old school. The customer is always right, even if they're wrong. It costs so much more money to gain a new customer than it does to retain one you already have.
I also know that no matter how hard you try, you cannot please every customer and some will "vote with their feet"....simply walk away without explanation.

So it confuses me why a chain as large as Guitar Center can masterfully run off so many customers. Their apathy...and I'm talking about the people they employ to sell...is overwhelming. Their ego is suffocating. Their arrogance and sense of entitlement is amazing.
Look, it's a vicious cycle. the turnover is high, the pay is low, the stress is over bearing. To say the business model is a disaster is like saying Attila the Hun was perturbed.

But still, I believe that it's better to communicate my experiences than to just walk without explanation. That is MY mistake.
After a very unpleasant experience in the Lewisville, Texas location, I shot off an e-mail to the customer care department. About a week later, I received a cordial response from the Pro Audio department manager, Mike Stewart. I didn't immediately respond, but after another bad experience in the Dallas, Texas location on Central Expressway, I responded to Mike's e-mail message about that experience. Both experiences had to do with being largely ignored while in the store and when I finally got someone to deal with me, they didn't really want to help me. I was looking for specific parts and pieces during my first visit and the second bad experience was being told that a demo of an audio signal processor was just not possible. I think the exact phrase used was "I just don't know how we could hook that up for a demo". I said, "OK" and left.

This is the verbatim response from Mike Stewart, now the former Pro Audio Manager from the Lewisville, Texas location:

"Well, I will say this. You're an asshole for never sending anything back to us in the 1st place to verify you even got my e-mail. I don't even work for Guitar Center anymore but if I did you'd be the oppistate (sic) of anyone i would want to deal with."
Mike Stewart

Nice.

I took exception to being called an asshole and wrote back suggesting maybe we get together to discuss the matter further.
Mike wrote back:

"oh yeah physical altercation is always problem solving in this era huh? Seems you have a great life and have accomplished much in your many years according to your website lol. Done with you dude, get over yourself. You're just another whiny "I've spent thousands of dollars here" guy we delt (sic) with every day that was a pain in the ass. Ciao."
Mike Stewart

Mike, by the way is now starting his own audio production business and no doubt, trying to drum up some new business...although I wouldn't exactly endorse his promotion style....you know, just in case you're in the market. Shoot me an e-mail and I'll pass along his company profile.

So the next time you're considering a purchase of music gear and you're thinking about Guitar Center, just remember the heartfelt words of this former employee and ask yourself, "am I a whiney (sic), pain in the ass" that these poor people are going to have to deal with today?

A sidenote: I was watching Letterman earlier this week and "Built To Spill" was the music guest. Brett Nelson was wearing a t-shirt on the backline with the "Guitar Center" logo on the front and a red circle with a line through the middle. Here's the link, see it for yourself:
http://www.youtube.com/watch?v=KfQk7MOWQn8

If I can figure out a way to wear one everyday, I will.

Here's another great site if you love Guitar Center as much as I do:

http://www.guitarcentersucks.com/

Hazy, Fuzzy Mystery #2851

2009-10-10T09:21:00.001-07:00

Why is it....
That no matter how big the stage, no matter how much room the band has to set up, everyone still put their amps, guitar stands and keyboards so close to the drum kit that I can't get behind it without manuevering through an obstacle course?
I need a ladder or a swing to get back there.

Why you can't find a drummer...

2009-10-04T17:57:00.000-07:00

This could get me in big trouble. I could loose my membership in the “drummer club”. I could get called on the carpet by the grand poobah of drummers. By revealing these secrets I may have to kill…or at the very least, wag my finger and admonish readers never to repeat these to anyone.

(Gulp) Here goes…

Reason Number 1 …Your set list sucks

It’s tired, old and repetitive. I mean why does every… and I do mean every rock cover band insist on playing “Sweet Home Alabama”, “Brick house” and “Play That Funky Music”. If I had a nickel for every time I’ve played these songs…well, I’d have a lot of nickels. I once thought if I played these songs one more time, my arms would fall off. Look, this is how bad it’s gotten… I can play them with my eyes closed. I did last week-end.

I grew up playing music from great drummers. Danny Seraphine, Alan White, Steve Gadd, Steve Smith, Neil Peart, Vinnie Colaiuta, Prairie Prince, John Wilcox, Joe Vitale, Will Calhoun, Billy Cobham, Bernard Purdy and other similar greats. None of whom I would venture to guess ever played that funky music, white boy!

These days I listen to Keith Carlock, Carter Beauford, Taylor Hawkins, Butch Vig, Abe Laboriel, Jr., Nick D'Virgilio, Dave Grohl, Hilary Jones and other similar greats. None of whom has ever played that funky music, white boy!

I’ve never considered Artimus Pyle a great drummer. I give him his due for walking out of the plane wreckage that killed Ronnie Van Zandt, but I never personally followed drummers who went to jail for having sexual contact with their own kids as Pyle did, or drummers who killed themselves with drugs as did Keith Moon and John Bonham. There are too many other great drummers with positive life stories to follow.

I’ve never even heard of Ron Beitle. I don’t think I’ve ever seen the Wild Cherry drummer’s name on anyone’s list of drum influences. I’ll even submit that you’ve probably never heard of him until I mentioned him just now. In fact “Sweet Home Alabama” and “Play That Funky Music” are better known for the controversial racial overtones of the lyrics than there place in chart history.

I don’t understand the fascination with these songs and why everyone is so mesmerized and compelled to play them. Do you?

Reason Number 2... You’re looking for a timekeeper and not necessarily a band mate.

Most bands would think they’d died and gone to heaven if a drummer would rehearse 3 times a week, show up on time to gigs, bring a great sounding kit, set it up in 20 minutes, play everything on the set lists without a mistake, pack it up after the gig and never say a word. Bands don’t want to hear a drummer’s suggestions (especially song suggestions) or opinions. They don’t want to answer our questions. I’ve seriously been to auditions where no one even asked my name.
Some bands are even afraid to speak to drummers for fear they might speak back. When allowed to speak, I’ve occasionally suggested to some bands that there drums needs might best be met with the Boss DR-880 drum machine.

Reason number 3… How many Metal bands do we really need?

Let’s see…join a metal band, practice 3 times a week with guitar players who get pass out drunk and grind in drop-d to “Acid Bath” until the singer growls up a lung, never gig and see how many ways the f-word can be used in one verse. Oh yeah, sit in the parking lot of the rehearsal studio and curse drummers who don’t/won’t show up for practice. Priceless.

Reason #4… How many bad original bands do we really need?

Let’s see… join an original band, practice 3 times a week with people who play songs with no more than 3 chords and no lyrics, never gig and sit in the parking lot of the rehearsal studio and curse drummers who don’t/ won’t show up for practice. Priceless.

Reason #5… You’re not good.

“Professional” musicians earn their living making music. “Successful” musicians earn enough money making music to pay their living expenses and still have expendable income. I don’t know very many of those in Dallas. It’s been my experience that a lot of people playing music here simply have unreasonable expectations of their skills and the skills of the people they’re looking to join them. Face it, if you were as good as you think you are you’d be in Nashville, Los Angeles or New York making your living as a successful musician or at least a professional musician.

Reason #6 … You have no “people skills”.

You’re rude, obnoxious, boring, egotistical, pompous, and arrogant and you’re the music director of the band. Also see #5.

Reason #7… You play for yourself and not for your audience

The litmus test for determining set lists should be…”is this a song our audience would like to hear”. Instead of “is this a song we would like to play”. Don’t kid yourself. I’ve been in too many set list meetings to know better. The difference in what to put in set lists is the number one reason bands split up.

Reason #8 …There is a serious difference in the definition of genre’s

I will answer an ad for a variety band and the set lists is comprised of songs from ZZ Top and songs from Travis Tritt…and while that does represent “variety”, my definition of variety might be playing songs from Earth, Wind and Fire AND No Doubt.

Your definition of a dance band might be music from Rick Springfield AND Delbert McClinton and yes, I’ve seen people dance to both, my definition of a dance band might be music from Kreo and Rihanna.

There is a chasm of difference between the definitions and finding middle ground is almost impossible.

Reason #9… You have no plan and no time lime.

You’re putting a band together or re-starting a band that has no plan and no time line for getting to stage. You don’t know where you’re going to rehearse or even worse, you’re looking for a drummer who lives in a house you can rehearse in. Your plan is to talk some bars into letting you do free shows…you know, “for the exposure” and just take it from there and see where it goes. The audition begins with, “OK, what does everybody wanna play?”

Not a good way to motivate a drummer into sticking around through the audition.

Reason #10…You play the drums but only vicariously through the drummer you’re auditioning

OK, #’s 2, 5 and especially 6 apply here. I’ve been to auditions and the self proclaimed “music director”… normally a guitar player will stare at me while playing, stop and say, “Look dude…I want you on the ride cymbal there on that part and the fill goes like this”.
This is the point where I throw my sticks in the stick bag and start packing my kit.

These are just 10 off the top of my head. There are more….many, many more reasons why you can’t find or keep a drummer. I had a call just today from Cletus in Fort Worth who called to say he and another guitar player were looking for a drummer who could keep up. They're just playing a couple of small bars for free right now...you know...for the "exposure". I politely declined the invitation and then he called again three hours later forgetting that we had just spoken. Sheer genius.

OK, We're serious drummers...either come play our crap or the punkrockers "get it"!

2009-09-23T08:23:00.001-07:00

When I thought I'd heard it all from the desperate yet aspiring punk, screamo, ska, death metal, thrashers, shredder guitarists... here they come again with some of the most amusing posts imaginable.

"There Are Still No Drummers" is the headline for the latest literary masterpiece gracing the "Musicians Wanted" pages today.

I'll post the ad in it's entirety and provide the interpretation/filtering through a drummers ears.... (in parenthesis) Remember, this is for entertainment purposes only. Any resemblance to any real ad (living or dead) is purely coincidental.

"OK, so we've posted looking for a drummer. We've tried Craig's List. We've tried Backpage. We've tried leaving flyers up around the practice space. We've tried trolling posts to look and see if there are any drummers available. "(We're not giving up damn it, even though the court papers say we have to stay 100 feet away from drummers)

"We THOUGHT that there were just no drummers in the entire D/FW area. But we were wrong. "(wait a minute...were we right and now we're wrong again?)" The last time we posted this ad, we got several interested individuals but we're back to the drawing board for a few reasons"(OK, we were wrong the first time and now we're wrong again...or are we right this time?)
"One didn't work out because he didn't like punk, "(He executed his exit strategy), "one we really gelled with after a little practice, but he had too many conflicts with work and other activities" (He executed his exit strategy), "and the last guy we had for several weeks and were really working out with until he had an accident and is now unable to play drums for several months" (He almost executed himself).

"So if we've been through all three available drummers, we're back to thinking there are no more drummers in D/FW" (Shall I call the "whaaaaa-bulance).

"We're a couple o guys rounding early thirties who get together every couple of weeks and play punk and pop-punk stuff along the lines of NOFX or Nerf Herder" (our other influences..."Pooping in Birds Nests, "Stuffing Rocks Up Our Arses", "Gouging Our Eyes Out With Scissors" and "Piercing Our nipples with Railroad Spikes").

"We have a ton of original material and are looking for someone relatively stable "(good luck) "who isn't looking to get famous all of a sudden but wants to jam and play some shows" (for free?).

"Have a few contacts around town with gigging bands and could probably piggy back a show or two on them to get started. We've also got at least a couple of people that want to come WATCH us play." (ooooooo, where do I sign up?)

"So really, all that is missing from this equation is you. A drummer." (A drummer? really)

"If you want to listen to some old crap, and see what you are getting into - check out http://www.myspace.combut we're a bit less poppy than that now with our new stuff, though we still would like to play some old songs." (You'll play what we tell you to play and LIKE IT)

"EMAIL us." (Pleeeezzzeeee)

"If you have friends that are drummers that are always complaining "I'd like to play, but there are no punk bands in D/FW" then you should print this and take it to them." (No, we mean it . Print the damn ad and take it to everyone you know...even if they can't play drums)

"Disclaimer:" (Uh-oh)

"No crackheads" (Mom says we can't pick up and drop off anymore "friends" who smell funny and act weird), little kids (court ordered), "people that really hate punk or aren't willing to try it out" (we hate closed minded people....like us), "people that don't like to play drums or don't own drums" (mom says we can't afford anymore musical equipment) "or only want to play Rush all day" (sorry Neil). "No seriously old guys either" (anyone over 35?) - "by old we mean classic rock types" (anything from anyone successful) - "not trying to be rude, but we're both in our early thirties" (and we just can't help it) "and kinda looking for someone around the same situation, etc." (seriously stuck in my moms garage but never the less, living the dream)

"So, what are you waiting for" (operators are standing by) "Prove us wrong about there not being any drummers out there" (and about the need to execute the English language with precision). "Call or e-mail soon" (so we can abuse your ears with drop d, three chord masterpieces with no hooks, melodies, chorus', lyrics or endings, not play out, not pay you or give you any hope for your future)

"Thanks." (you're welcome)

The Kelly Shu Mount

2009-09-23T07:20:00.001-07:00

I am the proud owner of one Kelly Shu Mount. I've been eyeing this thing for a while, since DW has pretty much dropped the ball on trying to sell any May Mounts. I've never seen a company so intent on trying to kill one of their product lines....but anyway.
I love the Shu Mount. Easy to order, quick to arrive. The invoice even contained a nice little "handwritten" note from Mr. Kelly. Great instructions, which I promptly threw away. I'm a man.
From the moment I started taking the front head off, the mount was installed in less than 30 minutes. I went with a pretty standard installation. I waited till the next day to install my AKG D112. I had to purchase a soldering iron and learn how to use it. But even that went well. I did use a much hardier mic cable and it took some doing to fish it through the air vent, but the entire design and look has a certain elegance to it.
The only change I would make is to add a mount for the male XLR connector that would bolt to one of the claw mounts on the drum. I've checked around and none seem to exist. My cable dangles on the floor and I don't much care for that. Otherwise, it's a good system.
I couldn't wait to try it out and got my chance pretty quickly. I had already decided to take a much smaller kit to the next gig, but once the Shu mount was installed, I just had to take the big kit to check it out. I'm told the sound from the kick was incredible. I'm sure a lot of that has to do with the D112, but the shu mount places the mic in such a sweet spot, it would be difficult not to give it a lot of credit to Kelly for the astonishing sound. Better than a mic stand in front of the drum head...which I've always hated.
The sound guys love me now, because we won't have to fight about putting a hole in my resonance head. I refuse because DW's heads are sonically vented for optimal sound quality. Plus, they can blame me if it doesn't sound good....even though it's there fault. By the way, I installed a "holz" system in one of my Yamaha kits...and it rattles...loudly!
The only reason this device doesn't get a 10 from me is the lack of a mounting device for the cable...otherwise it's perfect.

Miracle powers being exhibited right here in Flower Mound, TX.

2009-08-30T13:12:00.000-07:00

I wasn't aware. I had no idea. There are powers of miracle...need I say, Biblical proportions occurring right here in our own town.
People, at least I think they're people, are demonstrating this incredible power or intuition. They're able to tell how a drummer plays simply by the response to an ad on Craigslist.

I know. It's crazy and quite unbelievable but I'll try to explain.

I answered a recent ad for a drummer in a variety/dance cover band...well here's the ad:

"we are looking for a drummer for our variety band. we play dance tunes 70s/80s/90s and some top 40. flower mound area. part time. if you would like to audition please respond."

I suppose their powers don't apply to punctuation, but I digress.

So I responded about an audition and an anonymous response came back: "we’re looking someone (sic) that plays a little funkier."

WOW! It's a good thing I don't play funky enough. I could never play with people who possessed the power to know what or how I can play based simply on a response to an ad. I mean.. how would you even address someone like that? Do they emit a light that can't be seen with the naked eye? Are there others like them that have similar super powers. Are they part of some super power alliance? Do they have super friends? Can they reason and deduce from great distances or are their powers limited to just the metroplex?

It's a good thing I don't play funky enough. I just don't think I could ever live up to THEIR standards of funkiness.

Child, please.

Why buy anywhere else??

2009-08-17T14:07:00.001-07:00

I went into a well know music store last week. It's one that you would recognize but shall remain nameless in this blog. So, I went into this music stores whose initials are GC to purchase some low end drum bags for a Yamaha kit I bought used a few months ago. The bags were $100 and after I did my research (I realize that I did that backwards) I found out, I got a pretty good deal.

On the other hand, I also purchased a new head for my main snare drum. It's been showing some age and I thought, 'well, since I'm here.'
That, as it turns out was not a good deal.

This store, like many others will price match anyone else, but you gotta do your homework first and go in an informed shopper. Even though you know you're gonna have to haggle to get the best deal.

I've done business (a lot of business) with this chain and they have a record of all my purchases. Sometimes I feel I do pretty good in there and other times not. I guess what aggravates me the most is when I find a better price on this particular chains own web site. Why not just sell it for the same price in the store as you do on your site and make everyone happy?
Well, I'm not stupid. I know the answer is brick and mortars have much more overhead, offer immediate access to the merchandise, employs people to answer questions, offers demos...yada,yada,yada.

The only real reason to shop a brick and mortar is if you really, really need immediate access to the merchandise. The employees, by and large, are not helpful. Well-meaning perhaps, but not helpful. The demos are a joke and I
really hate going in to shop.

Most of my purchases have been made on-line, where I'm more apt to bargain hunt. I generally find much lower prices, even with shipping costs included and I don't have to deal with the inevitable scorn from salespeople who know they're probably not going to get my business.

My last major purchase was a cymbal that I purchased on-line from a local retailer who had just come through bankruptcy. A little bit of a risky move, but American Express takes a lot of the risk out of any on-line purchase anyway. As a point of reference, the cymbal is a top of the line Paiste Signature ride cymbal and it retails for over $700. After weeks of searching E-bay and then retailers trying to find a reasonable deal, the best I could come up with was a price of just under $500 plus shipping.
On a whim, I checked with the local retailer just out of bankruptcy and for some unknown reason, they sell the cymbal for $366. It's not in stock, but they can order it, have it dropped shipped to the store and I can pick it up there, no shipping costs. A no brainer. The only downside, I gotta pay tax, but still......

No moral to this story. I could tell you about several purchases made through E-bay or at an on-line retailer that have been a much more pleasant and cost savings experience than walking in that local chain.

A lot of people predict the chain won't survive. Folks tell me all the time of unpleasant experiences at the GC. I bought my DW kit there only after the store manager followed me into the parking lot, stood inside my car door and relented to a ridiculous price so I would take the kit home then and there. I don't think that exists anymore. I used to ask for a manager so they cut make me a "deal I couldn't refuse", but they don't do that anymore either.

So, I'll plan ahead, stay well stocked on sticks and heads, keep researching the best price, make sure I'm getting a good deal on musical equipment and watch for the "going out of business" signs that will probably adorn that chain store someday soon.

No one to blame but me...

2009-08-16T10:08:00.000-07:00

It's a typical Saturday and I'm just knocking around the house nothing on the agenda, except for some pre-season football on TV (yawn). Then the phone rings. Unfamiliar number. I answer. The voice on the other end asks if I would be interested in coming over for a jam. I think, but not too seriously. "I'm not saying no, but I would like to know more about what you're doing".
He tells me there is an e-kit set up for me, that this is a regular bunch of guys, pretty close to where I am, gonna jam to some tunes from Woodstock seeing this is the 40th anniversary. I ask him to send me a list of tunes and he does, only a fraction of which I have heard before.
I write him back and say I'd like to jam, (since I'm not real interested in Seattle at San Diego) but I just don't know the songs. "That's OK", he says, "we don't either and will just kinda plug away."
That might be cool. It is close, there's a kit there already. Sounds like a bunch of guys that just wanna have some fun. It might be cool.
I get there and everything is cool. Nice people, nice house, the kit is very small... a TD-6. I'm trying to figure out how I'm going to monitor and how to edit in the TD-6. I only bring a throne and some sticks and I don't even set up the throne, choosing to use the one on the kit.
The first thing they want to do is something by "The Band"...not a big fan. I didn't follow them at all. But it is straight down the middle and I'm just tapping out a rhythm. No one seems to mind. I wonder if they hear me at all. the song finishes and no one says anything about anything, so I presume they're happy with just about anything I do. This will be good, since they continue to play song after song after song that I've never heard before in my life.
I continue along with this progression and after about an hour, I'm starting to work on my escape plan. It turns out no plan is needed.
Someone is singing a "hippie" song from Crosby, Stills, Nash and Young" or some such and replaces a line near the end by singing "..and Obama is all to blame".
That's it for me. I threw my sticks in the bag, got up, said a few good-byes and made for the door like a thief in the night.
Where does one go to enjoy themselves without someone ramming politics down my throat?

A dime a dozen

2009-08-12T15:34:00.000-07:00

Come one come all. It seems that you can't swing a dead armadillo without hitting a drummer looking for a band around here anymore.
Can't help but wonder where they all came from. I know a few have moved into town recently. Maybe some others are just getting started, but for as long as I can remember, folks have been bemoaning the lack of drummers in the DFW area. People post some of the weirdest ads looking...well, actually begging for a drummer. "Please come play our crap! We're not going to gig and we're going to treat you worse than you can imagine, but we need a drummer to lay down some licks on our three chord masterpieces."
Uh-oh. Started down a bunny trail again.
This is the first time I can remember that there has been more ads for drummers looking than virtually anyone else....even bassists. And everyone plays bass!
The short shot of this is this: The auditions have slowed to a trickle and everywhere I seem to go, I'm either the first, second or third drummer of the night.
I think I really hate auditioning.

Age dispute...

2009-08-06T16:03:00.001-07:00

There's a pretty interesting "thread" on the Dallas Craigslist website in the musicians forum about age. A lot of people weighing in on the subject of a musicians age and the discrimination that takes place when people advertise for players. Some want players older than a certain age....some want players younger than a certain age.

I think it's pretty funny actually. I mean if you're taking music THAT seriously why are you in Dallas and not Nashville, New York or LA?

Just a thought.

It's Baaack....

2009-08-06T09:30:00.000-07:00

After much consternation and comptemplation, I've decided to resume this blog. It has been several months...OK, years. But I've decided it's either the blog or go insane.

Auditioning for a new project, being in projects and being out of projects simply provides more material than a person can contain within themselves.

So with great pride and enthusiasm, I bring you....my blog. Can't wait to get started.

This is starting to get serious...

2007-05-27T09:57:00.001-07:00

We will have finished all pre-production for the live music project by the end of May! From here, we re-locate to a rehearsal room and start polishing the show. That should only take a few weeks.
The demo will be easy to record, name the band, put a promo pack together, seek out management and off we go.
Everything is on track and on schedule for a mid summer stage debut. We are thrilled and excited to be this close and can't wait to run this thing out there.
I've enjoyed playing and being around this group of people more than any others. I can't wait to take the stage with them.

Out of the market…for now

2007-04-23T06:11:00.000-07:00

No more ads…no more looking…no more auditions…no more funny stories to tell, at least for now.
After a two plus year search for a suitable live music project, I’ve concluded the only way back to A-room stages is if I put a band together myself…so…..

With the able assistance of three very fine, talented musicians and a Yamaha Motif workstation, we are working our way to stage. The competition for stage time will be fierce, so we’ll have to be outstanding in every way but I’m looking forward to the challenge.

The pre-production is going great and faster than expected. I love Pro Tools and love the Motif even more. The learning curve hasn’t been the issue I thought it would be, but mostly I love the people that have joined me. They are young, talented, eager and hard working. We will have an outstanding front line, we will be vocally thick instrumentally strong and the set list is very fresh, sophisticated and tight. High energy dance with great tunes that aren’t being played to death already.

This is getting very exciting. The best part for me is: (in no particular order)
1) no more classic rock, rock-god wanna-be garage bands with no plans…just jams
2) no more goofy, hipster bands looking for a drummer who will play like Neil Peart and keep his mouth shut
3) No more age discrimination
4) No more flakes (I guess this would be number 1)
5) No more playing foreign kits that were purchased used from Wal-Mart

More to come when the marketing campaign kicks off.

I think it really is true....

2007-04-02T06:42:00.000-07:00

The harder you look, the more difficult the search.

I walk a tight wire with drumming…on several fronts. First, I want to be paid to play. Oh, I could probably play most every week-end, if I were willing to accept $0 -$50 for the effort, but it truly is worth more to me to stay home and earn nothing than to tear my kit down, pack it up, haul it somewhere, unpack it, set it up, play, tear it down, pack it back up, haul it back home, unpack it and set it up again.

Second, I walk a tight wire with my search for a project. I run a lot of ads. Not everyday. That would be stupid and ridiculous. And certainly not more than one ad on the same web page everyday. That would be insane! I usually run an ad once a week and probably more like once every couple of weeks now and I worry that THAT is too much. I don’t want to appear desperate because I’m not. If I don’t find a project and can’t put one together, then I won’t play out….simple. I still believe that using CL and BP to advertise is probably the worst way to find musicians, but I have had limited success there before and it’s still free so it’s worth the effort.

Finally, I walk the tight wire from an age standpoint. Having come to terms with “wasting” most of the prime of my life NOT playing, I’m fast approaching an important benchmark in my life... a point where I wonder what’s next. Since I absolutely abhor the thought of playing “Play That Funky Music” and Brickhouse” and then “Sweet Home Alabama” to toothless rednecks in biker bars anymore, I really wonder what else can a drummer in Dallas / Ft. Worth do when you’ve passed that line of demarcation that makes you 1) wonder what the hell you’re doing playing drums, 2) pass up any gig that pay’s less than $150 for the effort and 3) comfortable and satisfied staying home Friday and Saturday nights instead of out with a four grand set of DW’s fending off drunks who want to help you pack up!

Yes, I’m definitely gonna do things my way from here on out. I still love being on stage and the occasional jam with quality musicians. And it’s not that I have this huge ego about the money. It’s not even so much about the principle of being sufficiently paid to play anymore. I guess it just comes from experience. I don’t so much do it for the love anymore as I do it for the love of the thrill and I wonder what will thrill me enough to keep doing it and under what circumstances. I wonder what I will be playing and where I’ll be playing it and I wonder who I will be playing it with. I wonder what will “crank my tractor” enough to get me excited enough to get out and haul a kit somewhere. And I wonder when that might be.

Now what?

2007-01-30T06:43:00.000-08:00

I launched DFW Drums.com just six months ago. The original idea was to create a clearinghouse of information about myself, include pictures, recordings, a philosophy…generally make it easy on people to get the necessary information about me to make the decision easier whether or not to audition me for their band.
I’ve had some fun with the blog and have gotten generally good comments about the contents. There have been several auditions…many, many offers and even a few “thanks for coming out” (interpretation: not even close to what we’re looking for) Fair enough.
I spent the money on the domain name, built my own site, and ran some ads with no expectations. But today, the site has entertained its 5000th visitor. That’s crazy!
I didn’t know there were 5000 musicians in town. Now, I admit the vast majority only make it as far as the front page, see my picture and leave---can you blame them?
But many stick around, read the bio, my philosophy, hear the music—and here’s the real test of success—how many actually make it down to the contact page.
Of those, about 25% actually do contact me. It’s fractional.
The site has done a great job of pruning from both directions. It instantly informs many people that I’m just not right for their project and to move along in their search. It also keeps the barrage of people from contacting me whom I wouldn’t want to play for. So the site has performed well in narrowing the focus and keeping only the seriously interested informed.
It also keeps me from having to repeat the same old tired information over and over again—what have you done? Who have you played for? How long have you played? Blah, blah, blah.
It’s getting down to it. January has been the sites biggest month so far and that has translated into genuine auditions and genuine offers. I knew it would happen this way. Everyone comes out of the holidays looking for a drummer or this piece or that piece-- all ready to start gigging again. It’s cyclical you know. Same thing happens after school starts. Those are the best times to get involved in music.
So the original question….Now what?
The site needs video content and with a name like DFW Drums.com, I’d thought I’d start producing video profiles of drummers in the area. No, it will not start with me, but I have a few people in mind. From there, we’ll see where it goes.
As for me, the search continues. I’m weighing some offers and uncertainty still reigns. But the search is fun. I’m meeting nice people. I’m playing some interesting music. I’m teaching a few lessons. I’m still recording some projects and I feel like the need for drummers in the area is only increasing which puts all of us drummers in a real good position to do what we want.
Stay tuned.

Looking for a Pro in an Amateur World

2006-11-26T14:09:00.000-08:00

I was visiting the ads recently – you know the ads—DO, CL, DM…all the usual haunts and it dawns on me that there are an awful lot of dysfunctional, unrealistic thinking about exactly what these ads purport to be and more importantly, who is out there looking for a gig.
One ad says: “Looking for Pro—will accept nothing less”
What the ad doesn’t say: “We treat this as a hobby—sometimes we get paid, sometimes we don’t”
Another ad: Age not an issue but preferably 25 to 40 with a cool look (after all, it is show business... laugh).
What the ad doesn’t say: “I guess age IS an issue along with looks and coolness and ability and charm and hey…do you know any good looking women?”
During my journey on the audition circuit (which seems to have no discernable ending), I hear all the stories about how difficult it is to find a drummer. I think what they mean to say is: “It’s difficult to find a drummer who…..”
Fill in your own blank.
I personally know a lot of drummers looking—and by the way—the ads are a terrible place to be looking for a gig. Most of whom I visit with all have similar stories.
It really doesn’t matter how you play. It seems bands are looking for the total package. It’s just like finding the perfect woman. Just when you think you have, she talks.
Two points to put a caboose on this train of thought:
First, if you’re looking for the perfect drummer, the total package, the guy whose the perfect age, with the perfect look, the perfect clock, the perfect chops, who will be on time every time, know the songs, play them perfectly and keep his mouth shut and do this all for little and sometimes no money---and you actually find him--please contact me immediately… I’d like to meet him or her.
Second, and really, just another recent revelation that I mentioned earlier. The ads are the worst place to find a gig. After several months of looking for a gig in the ads, I realized that I just keep running into the same people looking for the same thing and not finding it. It seems that there are two very distinct circles of musicians: Those who play and are active in the music community and those who are inactive and just keep looking and finding the same people over and over again.I keep thinking that I’ll find who I’m looking for when I stop looking.

I couldn’t make this stuff up….

2006-11-22T07:51:00.000-08:00

Proving once again that fact is stranger than fiction, is a recent audition I was called to in The Colony.
The project sounded like something right up my alley and I was intrigued enough to go out on Halloween night for the audition. Using my GPS, I found the house about 30 minutes early ( I was expecting more traffic than I encountered) so I hung around in the car for a little bit listening to the audition songs and watching the ghosts and goblins trick or treating.
After what I thought was an appropriate time, I walked up to the house and met the keyboard player. We had a brief introduction and he told me I would be loading in the front door and setting up upstairs. Good thing I brought my smaller Yamaha kit. There was a pool table in the middle of the room and they wanted me to set up in a space too small for the kit, so I chose a place in doorway to an adjacent room that gave me a little more space and did the best I could. The only concern from the keyboardist was that I had a rug to set up on. I had some large towels in the car so I laid those out and kept the kit on the towels. No one offered to help, so I unloaded everything myself, hauled it upstairs, set it up in the “too small” space while the others showed up to watch me.
The first warning sign that things were not going to go well was that no one offered to help. The second warning sign that I was at a bad audition was that no one asked me any questions. Not even the friendly, benign questions like, where do you live? Where do you work? Who do you know? Nothing!
We played the 7 or 8 songs they asked me to learn and then played 10 or so other songs that I knew for another hour or so, then the keyboardist announced” that’s it…that’s enough”.
He said they had three other drummers to hear and I would hear back from them. I thought that was good because I don’t make any decisions at auditions and I while the music was pretty good, I just didn’t know about these cats and the logistics of setting up this way for practice once or twice a week.
Then, the ultimate sign that I was at a real bad audition. While breaking down and packing the kit, the band held a lengthy and engaging conversation about their last drummer and what a shame it was that he flaked out on them. They also planned how they might be able to get him to show back up and keep playing. Then the kicker-- they presumed he might have gotten arrested and wondered how much time he’d have to serve and whether they could wait that long for him to get out!
I loaded as fast as I could by myself, made nice with the good byes and got the hell out of there. You just can’t make this up. I’m sure there’s more to come. The audition circuit is wild and strangely peculiar arena.

Welcome To Flakeville...Population 99% of Musicians

2006-10-23T15:12:00.000-07:00

After many rehearsals, learning more songs I’ve never heard of before, and going through the ever popular “honeymoon over” period, it seems that the band I joined earlier this year has idled. I get this feeling because --*poof*--the calls stopped and it’s now been 3 months since I’ve heard from anyone in the band.I report this like its earthshaking news. In fact- I’ve come to expect the “I fallen off the face of the earth and I can’t get up” silent treatment and apparently—it has no bounds.A church---I SAID A CHURCH—called me a few weeks ago to sub in and possibly take over the drum position in their “praise and worship” band. It’s a big church—I’m talking large and I got pretty excited about the opportunity. I’m a Christian and have absolutely no qualms playing praise and worship music. The guy who called me is the music minister and I told him I was available and probably familiar with a lot of the music they’re playing. He told me to plan on being there the next day at 5 to rehearse and then play in the 7:00 service. He asked me what I charged. I gave him my rates and he happily agreed. I asked for a list of songs that I‘ll be expected to play the next evening and he said he would e-mail me the list. Well, you guessed it, the list never came. Instead, I get a cryptic voicemail the next day saying he forgot—HE FORGOT—to e-mail me the list. Not only did he forget to call but that it was too late to bring me in now and would I be interested in subbing in for them sometime. FLAKE, FLAKE!

I’m just stubborn (or stupid) enough to think I can find 4 musicians/vocalists in the DFW area who are normal. Well, I know I've found two...one is a Yamaha Motif ES6 and the other is Digidesign Pro Tools. I thought at one time that I'd found an actual human bass player who seemed like he might be a good fit, but he came down with a rabid case of “I’ve fallen off the face of the earth and I can’t get up”. I know, I know. I might as well be looking for Atlantis to rise up from Lake Lewisville—but as I said, I’m just stubborn enough to keep up the search for the others pieces I need for another go at a legitimate live project. Other drummers know what I’m talking about. Yes, we do network and we know and discuss a lot of the typical players out there that keep surfacing in the “drummer wanted” arena.
We talk in detail about the never ending search for a group of talented, experienced, friendly, responsible, hard-working, patient, amiable, fun loving musicians who aren’t redneck, racist, lazy, know-it all, drunken, dope addict egotistical wanna-be rock gods, who firmly believe that playing biker bars is the end all/be all!

That shouldn’t be too hard, huh?

Dilemma: Should I Talk or Shut Up?

2006-10-17T13:48:00.000-07:00

It’s a quandary. When I joined "Impact", they had a pretty good plan together. They had executed the plan before. They had confidence in the plan and really weren’t looking for any ideas. The only question for me personally was: do I join them or not? Easy…
Same thing happened when I joined "The Saints" in 2002. They were a working, gigging band. There was no ambivalence about the direction of the band or what they wanted to do. Again, the only question was join them or not.
So, it’s really come to this: I will no longer simply agree to an audition with a band before meeting with them to find out, specifically-- what they want to do, what they want to play, where they want to play, how much they expect to play, how much they expect to earn, where and how often they want to rehearse and how firm they are in the execution of the plan; whether or not there’s any wiggle room in the plan, the set lists, the players, etc.
When that doesn’t exist—when there is no set plan—when there is no clear cut decisive direction in place, I have traditionally offered a few suggestions. It’s never intended as a power play. I really, truly don’t WANT to manage a band. I have and I will –reluctantly—but I really don’t want to. I would much rather learn my songs, show up on time, play with fervor, collect my pay and go home.
So it is-- that, on occasion, I speak from my experience to a few of my beliefs. What I think works well in live environments, what songs might play well in which rooms. I always suggest to bands that aren’t working to go to the rooms they want to play—several times and study hard what is being played and how it’s going over. That “should” tell you everything you need to know about what you need to do.
Still, whatever advice or suggestions that I impart are never received well. I can’t help but wonder if it’s the drummer syndrome—“just shut up and play”. I’ve dealt with that a lot! Or is it fear that I would be trying to take things over? Or is it simply that they want to learn for themselves or maybe they already know but don’t want to say anything.
This is getting too damned difficult. Hell, I just want to play. "Shut Up" has worked well in the past, but "Talk" has never seemed to work. Funny too, that when I take the "Shut Up" approach--invariably band members come up to me at some point wondering if I’m happy or not because “I’m so quiet”.

The new 30?

2006-10-10T09:31:00.000-07:00

In a recent interview with Drum magazine, Stewart Copeland (drummer for the Police and other bands) said that "50 is the new 30."
What he was saying is that, at age 53 he feels mentally and physically like he did at age 30. He might be stretching it a bit, but the general meaning behind the comment certainly has me thinking.
Like, why-- at my age, would I be entertaining the idea of entertaining? Why, when so many variables seem to be against me ever playing again--would I continue to seek opportunities to play the drums. Why don't I just accept the fact that maybe my ship has sailed, sell my toys and take up shuffleboard?
Well, for one thing, I feel more mentally prepared to play than ever before. I don't have undue pressures and distractions sucking the life out of me (like I did at 30). I can better express myself in a band environment and I can devote more mental energy to my performance now than I ever could in the past.
One crude example: I'm not only way past stage fright--I actually covet and treasure my time on stage. I enjoy being on stage so much that I get depressed at the end on the night when it's over.
Secondly, for the first time in my life I have time and resources to devote to being a drummer. I can invest in great equipment and more quality time to prepare myself for a band. Earlier in life, (at 30) it was all about the family, the kids, the career. Those things can consume a lot of time and resources AND SHOULD. But now that those are somewhat behind me, I feel like it's my turn to be a little selfish. Not a lot of people can say that.
Third, I just think I'm playing better right now that I've ever played in my life (at 30). Maybe that's because I'm playing with better musicians. Maybe it's because I'm playing with more confidence and less pressure. Maybe it's because I finally realized that I have nothing to prove--but I know I sound better now than I did 20 years ago. I should!
Now, if I could only figure out how to overcome the unattractiveness that my age presents. I realize that that this is an image conscious business and that when given the option, someone would generally snare a younger performer. I know very, very good musical artists who still have great ability and have been put out to pasture because of their age. It makes me think there might be enough of them out there to form a great band to play to mature audiences.
Just a thought.
It all reminds me of something Sheryl Crow told Ed Bradley on "60 minutes" a few years ago. She said, "Music success has nothing to do with music. It never has and never will. It has to do with having something that can be packaged, marketed and sold". True.
I hope there are enough "boomers" out there who can take this concept of "50 being the new 30" and run with it. I think Stewart may be on to something. It sure has me thinking that it's not over---yet.

One and Done

2006-10-10T09:27:00.000-07:00

Nothing surprises me anymore--nothing!
So it should come as no surprise that the only band I "officially" joined this year--Impact-- was a one and done project. They played one gig at Shakers, lost the bass player--or, at least, that's what I'm told--and apparently could not replace him.
So, with no fanfare and no announcement, they have simply disappeared.

Ho-hum---life goes on.

Wish I had said that

2006-07-12T08:57:00.000-07:00

If you live enough life, someone will beat diplomacy into you to the point that you will say the polite, correct, politically correct or generally accepted by society statements almost all the time. After all, it's the safe thing to do. But haven't you ever gotten so mad, so aggravated, so frustrated, that you just wanted to spew the truth--no matter how it made you appear?
With tongue planted firmly in cheek, the following poster did just that and I almost fell out of my chair laughing while reading his ad.
I love smart satire and you just know that this guy has had his fill. This is a very recent ad placed in the "musicians available" section of the Dallas Observer that is re-printed here without permisssion...but what the hell-- just in case you missed it:

"Lethargic drummer seeks boring cover band...

Lethargic drummer seeks boring cover band - prefer doing same old club song list so I don't have to put forth any great effort like with any dynamic rock, pop, blues, jazz, fast country or that funky stuff. Drunk friends and family love ya anyway. The more hick and burned out FM classic rock stuff we play the better. The occasional Metallica or Pantera tune is cool too - I 'm in touch with my primal self and I like feeling nauseous. Prefer a band with a terrible female lead singer that sounds like a cross between Fran Dresher laughing and a pig being slowly tortured. Having a guitarist that consistently plays off key and out of tune leads or a bass player with no since of timing or rhythm is a plus. That tuning and timing stuff is so over rated - it's all noise after the first couple of pitchers anyway. The stickier the floors are at a gig the better. Playing weddings is cool so at least we get to drink and eat free, maybe pick up a couple of them single desperate house wives! Will play for warm beer, bad dope or for free if there's beer AND Hooter's chicks involved. Making money's no big thing, I can make drums from garbage cans, cymbals from garbage can lids, use tree limbs for sticks, cardboard for heads - sounds as good as any DW kit - and I carry it all on my Schwinn Cotton-Picker bike to the jams (it has an extra rack on the handle bars if anyone needs their gear hauled to a gig!). I'm a tree hugging environmental hippy that thought the Dixie Chicks was a new Southern style combo at at Popeye's - so I'm easily fooled too. Seriously, I do own an authentic 1960s Camber cymbal with some key-holing and it has just 2 cracks in it, but my cousin cut it down with a chain-saw so it sounds better than new - even has a nice sizzle sound that scares off rats. Like dragging my kit out to jam with bands that are about to break up or are constantly fighting and pouting like spoiled high school girls. I can replace a good drummer if your tired of that half-ass beat and want that dynamic got no ass at all beat. Oh yea - I've been playing since before birth, been in a thousands bands, don't have any contacts in "the biz" and have absolutely no idea what I'm doing - but will consider getting signed, going on tour and becoming a big Hollywood rock star. Flaky inquiries only please - hate to waste the time of serious working pros. And if you believe all that crap, DON'T EVEN bother contacting me!Pro gear, pro attitude, pro sneakers, pro underwear, pro America, EZ going, fear God, don't own any baggy shorts and apparently have a sense of humor."

This is my new best friend...and I don't even know him.

More traffic than you might think

2006-07-11T17:14:00.000-07:00

So... just how many people have visited my little corner of cyberspace? More than you might think. I presumed--falsely so-- that there were a very finite number of people who would show any interest in a drummer from the Dallas / Ft. Worth area. I figured a few dozen people could possibly want to read and learn about little 'ol me.
So I wondered, and still do, if the cost of maintaining this space is worth it. After all, I'm all about making money moreso than spending it.
Thanks to my wonderful host provider, I get "on-demand" statistics that tell me more than ever wanted to know about visitors to DFWdrums.com. In just a little over 2 and half months, over 1000 unique visitors have stopped by for a look -- albeit a very short look for some. A unique visitor is an IP address that has never been here before. The site has achieved about 4000 hits --which are simply visitors whether they've been here before or not. At least a couple of hundred never get past the front page --which incidentally and not so ironically houses my picture.
Just as many, viewed every page and some even visit this blog. The others are looking for something very specific and still a few of those still manage the gumption to actually e-mail me.
To everyone of you...thanks for visiting. I hope you enjoy the new look and more importantly, I hope we might hook up and play a little music someday.

Making the Big Bucks!

2006-06-23T09:32:00.000-07:00

I met with some very nice people last night who are looking for a drummer to fill-in and maybe become a permanent player in their "classic rock" band. From previous posts, I've already expressed my feelings about "cr" projects. I've not only "been there, done that", but I haven't witnessed any changes in the "cr" environment here in the DFW area in the past 3 or 4 years. In fact, it appears things have gotten worse. More clubs have closed and those that are open or have re-opened seem to be paying bands less than they were 3 or 4 years ago.
Supply and demand is at work here in a big way. These guys--the ones I met with last night-- have 6 pieces in the band and have gigs booked for $300 or $400 per night. I don't know what pisses me off more. Clubs that won't pay a decent nights wage for a band or the bands that agree to play for--what amounts to poverty wages. In some cases they end up with bar tabs that cost them much more than they earn. But that's all part of the clubs ultimate plan.
Shall we break it down? Let's say I agreed to fill-in for the $400 gig. It's an obvious money losing proposition, even without a bar tab.
They rehearse 33 miles from my house (66 miles round trip). If I rehearsed with them 5 times, I would drive 330 miles. That's exactly the capacity of my fuel tank at $50 per tank. Now if I get my cut of $400 split 6 ways, I'm banking $66.67 for the evening. I presume the band will play for 3 hours, but every gig is a 9 or 10 hour day for me. I start packing the kit at 5:00 p.m., drive to the gig about 40 miles away, unpack, set-up, sound check, eat dinner, play the gig, tear-down, pack, load, drive home and arrive about 3:00 a.m. That's 10 hours. Having already spent $50 just to rehearse and probably another $10 on gas to get to the gig and home again, I'm clearing $6.67 for the evening. That, my friends is $.67 per hour (without factoring in what I spent on the meal).
Before you tell me that there are things you do for love and things you do for money. I get that. I understand that. I get and understand that I will unlikely recoup a fraction of what I spent on musical gear. That's part of the rub.
I have filed schedule C's on my tax return each of the past 4 years in order to realize a loss due to equipment purchases. A lot of people do that. My accountant tells me, however that you can only do that for four years before the I.R.S. expects to see a profit. If they don't see a profit, they can disallow the previous losses, call it a hobby instead of a job and re-calculate your tax liability for the past four years. I'm pretty sure I would owe more than $.67!
Is that "real" enough for you?
I don't have anything against any genre of music, but I am bound by common sense, principles and my accountant to execute a little intellegence about accepting gigging situations.
A few weeks ago, a band called me to sub for them at the last minute. No time to rehearse. I don't normally like to do this, but it make a lot of fiscal sense TO do it. Another $400 gig, but only four pieces this time and they're paying a sound guy $50. So I spend some time at home learning a few songs that I don't know and on gig night I drive over set up and play. Another $10 on gas and a $6 hamburger are my only expenses. My cut is $87.50, so I bank $71.50. I was able to cram in the gig in 9 hours instead of the normal 10, so now I'm making $7.94 an hour. Now we're talking about BIG BUCKS!
I think I'm beginning to understand why more musicians only do "sub" work!

Your worst audition...and the rules to auditioning

2006-06-22T11:49:00.000-07:00

Oh, I've had a few. Had one Friday night in fact. It was bad, but it wasn't the "worst." I guess I should define "bad" and "worse". "Bad" is when you know you're not gonna get the gig even before you unpack no matter how you play. "Worse" is busting important rules even though you know it's gonna be a "bad" audition.
I'll tell you about Friday in a minute, but first let me tell you about the "worst' audition I've ever been on. I busted my first rule by driving more than 50 miles to get there. That's 100 miles round-trip (about $10 in gas at today's price) The band did provide a drum kit which was nice and they gave me 4 or 5 songs in which to prepare. So, I walk into the studio and waited for the rest of the band. Then as they start showing up, I noticed no one brought instruments. "This ought to be interesting". Then they spring it on me. They want me to play to music they've previously recorded. What?
Yeah. My audition was the band sitting on a sofa watching me play to music they've recorded. Now, I thought I'd seen everything but this was a first for me. I'm so confused and put off, I just knock out some simple riffs and call it a night. What these "phi beta kappa's" didn't and possibly still don't realize is that auditions are two-way streets. When I go to an audition, I know I'm being judged on my skills, my chops, my stage presence, my meter, and any number of tangible and intangible qualities. but I'm also judging them as well...which makes it kinda tough if they're not actually playing their instruments too. Needless to say, we parted ways that evening.
OK, the audition Friday...the "bad" one. First, I broke two of my most important, cardinal rules by agreeing to audition with less than 24 hours notice. The dude was supposed to send me a list of tunes to work on the night before but he sent the list to himself instead! I got the list the next morning, downloaded all the tunes and listened to them through-out the day. Never got a chance to actually play the songs and should have cancelled the audition, but I really thought I could pull it off.
Busted rule number 2 also...auditioning without the full band....AND I brought my big stage kit. So, not only did I go in and set up knowing the gig wasn't happening but I played with minimal players and yes, it was disastrous.
All of which leads me to devise a list of a few basic rules for auditioning drummers:

1) Know who you are auditioning. I provide a very detailed description of myself and my skills on my web site. My pictures are prominently displayed as well. I don't publicly state my age, but I'm exactly the same age as Carter Beauford (if you're really dying to know) If you're looking for a 25 year old, blonde with speed metal kick chops who looks great playing without a shirt, don't call me for an audition.
Also, the studio tracks on my site are digitally manufactured, processed, equalized, engineered and edited. Yes, I played them...all of them, but don't expect me to sound exactly like them in your studio. If you've spent any time in a studio environment, you realize that engineers and producers ultimately determine how each instrument sounds.

2) Give me adequate time to prepare for an audition. I know a lot of songs and I can learn very quickly, but you are probably not my only audition this week. Plus I may be subbing for another band and learning songs for the band I'm in. I take a lot of pride in my performance regardless of the venue and I want to play my best for you. Please provide a reasonable list of songs and a reasonable amount of time for me to prepare.

3) If the entire band is not there, it's not an audition. I'm judging you too. It's just not fair to expect me to sound my best when vocalists or keys aren't there. Need I say more?

4) Provide ample time for the set up, audition and tear down...especially when you have more than one drummer showing up. It's just not reasonable to expect one drummer to be out and the next one set up in 30 minutes. I don't like or appreciate being shoved out the door anymore so than I appreciate having to wait 30 minutes after my appointed time for the last drummer to finish packing.

5) Give us some room. Whichever kit I bring has a foot-print of 70 square feet. Clear a path for me if I'm expected in the back of the room and don't forget I have cases to store. I'll move as fast as I can, but please help clear out some space for me. Not doing so speaks volumes about how much you really want me there.

6) Be truthful for Christs sake. I will! If the bands not for me, I'll tell you right there. If I'm not what you're looking for, tell me. I'm a big boy, I can take it. Besides, it may eliminate the need for me to tell you. I don't play games and I don't like anyone playing games with me.

7) Give me a hand with the gear. I'll pack it in the cases and I'll pack it in the car, but I would sure appreciate a little help getting it there. Most everything is on wheels, so no danger in hurting yourself. It just says "thanks for coming out".

8) I don't smoke, do drugs or drink. I don't care if you do or not, but please don't near me or my kit and don't let it affect your ability to play.

9) Be prepared. This is not a rehearsal session, it's an audition. Singers should know or have lyrics. People should know the songs. I've worked very hard to know what I'm supposed to do. You and your people should know what they're doing too. Remember, I've been working with the original recording, so my expectations are at least that high.

10) Be respectful. I know what an audition is. But if you want me to play something specific, know how to ask for it using music lingo that is generally understood and used. I can't read your mind and I don't understand what you want if you can't communicate it to me in musical language. Simply stated, I won't be able to play accents when you point to me. I'll need to know, for example that you prefer accents "on the and of 1".

11) Leave your ego out of the audition and I promise that I will too.

Anyone else? Please submit your additions to the list.

The Mad Dash to Be....Something

2006-05-16T12:45:00.000-07:00

Reporting in from the deep, dark creveses of bandom. The mad dash is on to get ready--be ready to go to stage on the 26th. Just two rehearsals left and (in usual fashion) nerves are starting to fray a bit.
This reminds me a lot of getting ready to gig with The Saints in 2002. I had 5 weeks to learn 55 songs--not so much learn the songs but how they play them. The first gig was pretty successful and this one will be also.
There have been a few curve balls, but nothing that can't be handled yet. Most everything has been right down the middle of the road. Strange really, but I'm already starting to get bored playing some songs--the songs I've already played a jillion times before.
The only real surprises thus far has been the absence of any Stevie Ray Vaughn tunes (because I've been told many times that you have to play SRV in Texas--it must be a law) and the absence of "Play That Funky Music" and "Brickhouse". These might be late adds, but they're also "deal breakers" that will send me packing.
The status is Quo and I will report back after the show.

Choke Full of Guitars

2006-03-31T16:56:00.000-08:00

My last real band, "Falling Upstairs" (I call it 'real' because the band made some pretty serious money as a pop/dance/ variety band playing the area's "A" rooms) disbanded almost two years ago.
This was a band that I put together. A fairly difficult feat for a drummer, but I was bound and determined to play in "A" rooms before I retired. The band went through several personnel changes before ever taking the stage, but we did manage to play Manhattans, the Pour House and 8.0 AND had a signed contract to play Pampano's before "Falling Upstairs" fell apart. (pun intended)
Since the break-up, I made the decision to join a working band instead of trying to put something together again. It's very hard to find the right pieces, keep everyone motivated to work within a a start-up, fund the project, book the band, record a demo, put a promo pack together, keep everyone motivated to work within a start-up, find rehearsal space, get everyone to show up for rehearsals, get everyone to show up for rehearsals prepared, decide on a set list, decide on a name, find a booking agent, not to mention keep everyone motivated to work within a start-up!
So I set out on the audition circuit in the fall of 2004. The first band I "hooked up" with was "Pulse". Some pretty good musicians, some decent vocalists. I worked with them for about six weeks before it became apparent to me that they would never, ever get to stage. The "music director" would see to that. Sure enough "Pulse" never made it to stage and broke up.
Next up... "Shiver"-- another pretty decent band that as far as I know is still playing today. Like Pulse, Shiver had a music director--both just happen to be former frustrated drummers who wanted to play vicariously through me. Well, there's barely enough room in here for me, let alone a "music director" who wants to dictate to me when to play the ride and when to play the high hat. So, Buh-bye Shiver!
Over the next year, there would be some very frustrating auditions with a variety of garage bands all of whom had the highest of aspirations but low on talent, experience and honest knowledge of the live music community.
Which brings me to the point of this blog-- Guitar Driven Classic Rock Projects or as I will refer to them GDCRP's. Through the audition circuit and many "chemistry sessions", I've discovered that there are more GDCRP in this town than there are 7/11's! There are dozens, if not hundreds of variously talented musicians in the DFW area--all of whom desperately believe what this town needs is just one more CR band! Don't get me wrong, I like classic rock. I'm not only of that vintage, but I played for "The Saints" for two years--one the better CR bands in the area.
My problem with these GDCRP's is three fold.
First, the complete saturation of CR bands in DFW. Second, the lack of clubs willing to book--and more importantly PAY CR bands a decent rate. Third, the fact that these variously talented musicians all believing that set lists should be about what the band wants to play and not what the audience wants to hear.
While putting together "Falling Upstairs", my partner and I conducted extensive research to determine WHO are target audience would be, what they wanted to hear and then measured that sharply with the vocalists and musicians limitations. Then we took our very fluid and very dynamic set lists to club managers, booking agents, and to our target audience again to make sure we were heading down the right path. We continued to change and alter the set lists over the life of the band. A set list truly is the asset of the band.
I remember many times during rehearsals when someone would say, "I'm sick of this song". My response was always the same, "Well, we must be getting pretty close to being ready to play it on stage then".
But I digress. Back to my train of thought --which does have a caboose. There are some awesome bands here. I think Dance Regina is the freshest, best sounding project in Dallas PERIOD! I have great respect and admiration for Mars Hill, Random Axis and Look Out. I know people in Emerald City--a great band-- and Tropix. Professor D is a very good local band.
What makes them great is again a three pronged approach. First, the target audience is a mostly female audience. If you ultimately appeal to a female audience, they have more of a tendency to form a loyal allegiance. Where women go, men are sure to follow. Two, these bands play great dance music. Our philosophy in "Falling Upstairs" was 'if they're not on the floor, they're out the door'. Three, these bands employ great musicians and great vocalists and most front great looking female vocalists. All key ingredients in successful DFW bands.
So, having said all that and still believing in all that with fervor, I joined a classic rock cover band recently. The reason: they are going to stage soon and I have GOT to get back on stage! See you there.