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eddie1261
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eddie1261
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Well, to bring home one point that I keep bringing home, nobody is going to play The Enormodome playing copy music. Nobody here seems to accept that you HAVE TO WRITE SONGS to be a "playa" in the big game. You may define success as being the best cover band in your city. I do not define it that way. An occasional cover here and there, repurposed rather than note for note, okay, but not a 22 song show. The early Beatles albums were half covers, but the other way to look at that is that those albums were also half stuff they wrote. (Can you even imagine that in the middle of Sgt Pepper they'd do some stupid cover song?) Part of success is putting out an album, touring to support it, doing the radio promo for the shows, the t-shirt sales... all of it. AND you have to do something that is not exactly "in the mold" to set yourself apart.
Please take a minute to read my (fairly long) story below "the mold" and how I had to learn humility. Fast.
In 1984, I decided that I was going to head out to Los Angeles and show the music business everything they had been doing wrong up until then. I took a leave of absence from my job (I was a mailman) and loaded my car, and off I went. I had done a lot of leg work before this actually happened. I had a friend who managed an 18 suite apartment building and we worked out a deal where I could live in whichever suite was being renovated, as they were typically rehabbed with carpet and paint and such whenever a lease ended, and the next lease didn't start for at least a month, so I could stay in each place for at least one month, longer if they had no applicant. When he finally ran out of places, I stayed in the room that the Ramada on Highway 1 in Santa Monica gave his trio for their cases and such, and they were the house band there for a few years so that was stable. (Yes, I lived walking distance-ish from the ocean!)
When I got there the first thing I did was contact all my Cleveland friends. The guy with the apartment was a drummer. There was John the keyboard player who much later in life was in the house band on American Idol as well as doing sitcom jingles for NBC. Then there was Jim, a bass player, and his wife Pam, a singer/rhythm guitar player. I was playing guitar then. The game plan was that we (I) would write songs and do a showcase at a place in Santa Monica called At My Place, owned and operated by Matt Kramer. Matt had some business experience and he was very good to the bands that were going to perform as far as helping them pick which 5 songs they would play. I wrote about 15, pared that to 10, and then one afternoon we went in and he listened to all 10 and told us which 5 to play. We polished those up and he set up a showcase on Monday night, when they took place, 10 days later. We went in there ready to wow the dozens of label people that would be in the place.
Well, come showcase night, there were only 6 of them there, and the people who came to those things were the lower tier underlings, not the top guys. Matt told me it was protocol that when we finished I should towel the sweat off, grab a quick drink of water and then go out and greet people and thank them for coming. And that at that point IF they had any kind of critique, they would give it then. So after doing what I thought was a strong set, I dried off, grabbed a plastic cup of water and went out to see people. I never knew August in California could be so cold. The first guy, nothing. Shook my hand, grunted while he nodded, barely looking up from the pile of papers on the table in front of him. The second guy was nicer, but not much in the way of critical review, just to stay with the writing and keep trying. The 4th one was a woman probably 40-ish and she actually asked me to sit down with her. And that went like this.
She told me something close to "I can see by your eyes that this is your first showcase and the reception is falling far short of what you hoped for. Let me tell you this. NOBODY gets a deal on their first showcase. Never. Most of us here don't even bring contracts out of the briefcase to show you one until we see you at least 4 or 5 times, and each time we want new material. Your music is fine, but it is SO midwest mainstream, and there is already a Johnny Cougar. Get back to work with your writing and stay with it. There is talent and potential up there, but no wow factor. You need that wow to get anywhere. And that's the truth of the matter. Also, you are a handsome man, but you need to drop 25 pounds or so." And I shook her hand smiling through happy tears that somebody finally told me the truth.
I fought back the urge to say "This is 5 people from Cleveland here. What did you THINK we would do if not midwest mainstream? That's what we know because that's where we're from." I nodded, thanked her, and walked away. And about 2 weeks later I came back to Ohio with my tail between my legs, still arrogant enough to think they made a mistake not signing me to a rich 6 album deal and that they were STILL doing it wrong. Yes, I was THAT arrogant back then. And to a degree, still now.
But back to 100% more on topic, a lot of why people don't get discovered is that they never leave their turtle shell. You simply HAVE to be a writer. That is the other half of the creative toolkit. If not you can play at the campfire and back porch "jam sessions" (I HATE that term!) you want and be the star "picker" (I hate THAT term too) at those jams sessions, and if that salves your soul and makes you feel complete, then god bless you because you have reached your goal in music. But if you want anybody outside your town to know your name, the path is very different.
We have a scene here where Wednesday night is jam night, and the players are SO STUPID they don't see that they are providing the bar with free music when they should have to be playing $650-700 for a band. AND THEN, when their band is not booked on some random night, they complain how there are no places to pay anymore. Well, YOU are giving your craft away. That's WHY there are no places to play.
The game has changed since my day. For the worse.
Last edited by eddie1261; 09/30/20 01:05 PM.
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
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Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
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- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
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- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
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