I've been here before
The Dwarfs are back to haunt me.
This isn't a psychotic episode, honest. Trust me.
Over 20 years ago I stood in a record cutting room while two records
were cut. Mine/Ours, the Shoot! EP, and because the guy who was organizing it had a bit of
time. A record he had licensed from the states The squawling 70 seconds
of execration the followed showed up the limitations of our polite English
indie music .
That noise was The Dwarfs.
It did at the time shake my confidence more than I think I've ever admitted.
I've kept a bit of my eye on them ever since. I wouldn't want to know them
or even meet them just too “out there”. Too “Rock'n'Roll”.
In an interview with Simon Reynolds in his new book, Pete Thomas from Pere Ubu states the English just cannot rock. And I agree, we cannot do, the MC5, The Stooges
or god help us The Dwarfs.
We're too filled with irony, and we just don't believe in, or get “Rock's” cathartic
qualities. I worry more about the word cathartic than I do about where the next
big bag of drugs are coming from. Theory proved.
So.......
20 odd years on, contemplating all things band and newness. I stumble across
The Dwarfs on Spotify. By my reckoning four different formats on, and at least the fifth
imminent death of the music industry later.
The Dwarfs - still the same short appalling noise – still stunning - still no change....
Tuesday, 24 November 2009
Heist
Indulge me with this. I’m going to attempt to link two albums, three books an old copy of Jackie, and two and a half litres of local cider. The consumption of the latter may affect the former though.
This sort of consolidates some of the thoughts I've been having recently.
Anyway, Cd 1; Bollnas Wolverines' Abandoned sort of out there, er abandoned in the ether, leaving us a little non pulsed at it’s success, or lack of. Or really what anyone thought. Still thinking where to go next with promotion. So Cd 2 arrives it’s the new Yo La Tengo album, and loathed as I am to admit it, it crossed my cheap mind to just record it off Spotify.
So an Album we don’t seen to be able to give away, and an album I really should buy.
One out there floating like a lost child and the other about to be consumed by the child catcher.
Cd’s these days are really cheap – I know it’s all to do with downloads and the suchlike – but compared to records when I started buying then in the mid 70’s they are seriously cheap. If I could be bothered to do some lazy Internet research (or LIR) I’ll tell you how cheap, more of LIR later. But, thinking about it singles have gone up in price. Used to be about 70p for two sides of crackly warpy plastic ecstasy.
Now, about £1.50 for two tracks from itunes.
So before I digress even more, rushed into the local record shop and purchased Cd 2 before rushing up the A6 to get some cider. Both are going down very very well. So it’s a plea for shopping local, I suppose. The quality of the cider can be attested by the quality of my gibberish.
But I have to admit, this isn't the best Yo La Tengo Album.
3 books and a copy of Jackie. I have read two music books recently that have made me want to spit out my ground up teeth. Lowdown by Paul Lester. The Story of Wire- as it is subtitled - is a bit of a hack job, indifferently written, lazily researched, and shockingly proof read. Whatever people say, one tends to produce “Art” for one’s perceived audience. Hang round for a while on the Pink Flag message board to find out how witty erudite and intelligent Wire fans are. This book sells us short. I was amused to find some more of Paul Lester’s writing in a Music Club CD “Blockbuster – The Best of Sweet”. New Grub Street, hack journalism and Edwin Readon still seem to exist.
Whereas issue 62 of the 33 and a third series; “Pink Flag” by Wilson Neate really does the job. Managing to tell the story of one of the worlds best albums, and the history of a band who are much more “Rock’n’Roll” than they would ever care to admit. The work of a true fan.
The most annoying book I have read recently is “From CBGB to the Roundhouse”
Music venues though the years, by Tim Burrows. Well it sort of does what is says on the front cover. But not very well. I’ve just looked at my copy, I stuck a bit of paper in every page where facts were wrong or the writing was so bad it lost meaning, or after a bit of LIR myself I was starting to find the web articles the book was cut and pasted from. Until….
You get to the end and there are two fascinating, well-written and involved chapters on the 02 Arena and the boutique gig circuit in New York.
Was the book conceived around these pieces? “Give us book by next Thursday” go the publishers, “we’ll give you some money and then we might release your children”.
Finding 10,000 words by next week or it’s the death of your first-born. Humm…
So did Paul Lester end up there, squeezed by a publisher who wanted product, and product now? And how do I know about his Sweet writing –how good are Sweet!*
Did Wilson Neate spend more time on a labour of love than the advance deserved?
So to Jackie; a magazine for teenage girls from the 1970’s. A facsimile was given away recently with The Guardian. Dated the 15th Febuary 1975. My 14th Birthday by the way.
The stunning thing about it is the sheer volume of words, every page densely packed with text. If we are lucky the writers were paid by the word. Music was expensive but words were cheap.
But…..
Whoever produced them, got paid.
So…
Where are we now, well, “it was easy, it was cheap, go and do it”.
A much repeated mantra from my youth, and still my idiom. What we are doing loosing is the taste filter, where do we look to tell us what is worthwhile? If these arbiters of taste are not making money, why should they bother ? And where does that leave us ?
* In another life I have spent a few German lunch times and several beers with the magisterial Andy Scott . The times I dealt with Brian Connoly – file under Rock dream gone wrong..
This sort of consolidates some of the thoughts I've been having recently.
Anyway, Cd 1; Bollnas Wolverines' Abandoned sort of out there, er abandoned in the ether, leaving us a little non pulsed at it’s success, or lack of. Or really what anyone thought. Still thinking where to go next with promotion. So Cd 2 arrives it’s the new Yo La Tengo album, and loathed as I am to admit it, it crossed my cheap mind to just record it off Spotify.
So an Album we don’t seen to be able to give away, and an album I really should buy.
One out there floating like a lost child and the other about to be consumed by the child catcher.
Cd’s these days are really cheap – I know it’s all to do with downloads and the suchlike – but compared to records when I started buying then in the mid 70’s they are seriously cheap. If I could be bothered to do some lazy Internet research (or LIR) I’ll tell you how cheap, more of LIR later. But, thinking about it singles have gone up in price. Used to be about 70p for two sides of crackly warpy plastic ecstasy.
Now, about £1.50 for two tracks from itunes.
So before I digress even more, rushed into the local record shop and purchased Cd 2 before rushing up the A6 to get some cider. Both are going down very very well. So it’s a plea for shopping local, I suppose. The quality of the cider can be attested by the quality of my gibberish.
But I have to admit, this isn't the best Yo La Tengo Album.
3 books and a copy of Jackie. I have read two music books recently that have made me want to spit out my ground up teeth. Lowdown by Paul Lester. The Story of Wire- as it is subtitled - is a bit of a hack job, indifferently written, lazily researched, and shockingly proof read. Whatever people say, one tends to produce “Art” for one’s perceived audience. Hang round for a while on the Pink Flag message board to find out how witty erudite and intelligent Wire fans are. This book sells us short. I was amused to find some more of Paul Lester’s writing in a Music Club CD “Blockbuster – The Best of Sweet”. New Grub Street, hack journalism and Edwin Readon still seem to exist.
Whereas issue 62 of the 33 and a third series; “Pink Flag” by Wilson Neate really does the job. Managing to tell the story of one of the worlds best albums, and the history of a band who are much more “Rock’n’Roll” than they would ever care to admit. The work of a true fan.
The most annoying book I have read recently is “From CBGB to the Roundhouse”
Music venues though the years, by Tim Burrows. Well it sort of does what is says on the front cover. But not very well. I’ve just looked at my copy, I stuck a bit of paper in every page where facts were wrong or the writing was so bad it lost meaning, or after a bit of LIR myself I was starting to find the web articles the book was cut and pasted from. Until….
You get to the end and there are two fascinating, well-written and involved chapters on the 02 Arena and the boutique gig circuit in New York.
Was the book conceived around these pieces? “Give us book by next Thursday” go the publishers, “we’ll give you some money and then we might release your children”.
Finding 10,000 words by next week or it’s the death of your first-born. Humm…
So did Paul Lester end up there, squeezed by a publisher who wanted product, and product now? And how do I know about his Sweet writing –how good are Sweet!*
Did Wilson Neate spend more time on a labour of love than the advance deserved?
So to Jackie; a magazine for teenage girls from the 1970’s. A facsimile was given away recently with The Guardian. Dated the 15th Febuary 1975. My 14th Birthday by the way.
The stunning thing about it is the sheer volume of words, every page densely packed with text. If we are lucky the writers were paid by the word. Music was expensive but words were cheap.
But…..
Whoever produced them, got paid.
So…
Where are we now, well, “it was easy, it was cheap, go and do it”.
A much repeated mantra from my youth, and still my idiom. What we are doing loosing is the taste filter, where do we look to tell us what is worthwhile? If these arbiters of taste are not making money, why should they bother ? And where does that leave us ?
* In another life I have spent a few German lunch times and several beers with the magisterial Andy Scott . The times I dealt with Brian Connoly – file under Rock dream gone wrong..
Gabba Gabba Hey
There has been a bit of correspondence in The Word magazine about what I was mulling over in the last post. Basically Andrew Harrison's column in Issue 80 page 50 states, that “Good stuff costs Money”. Whether it be music or journalism. If you want something for nothing you are going to end up with nothing or nothing of a quality to be worthwile. To a point I agree I'll come back to this at a later date. What is happening though is I'm starting to view The Word as, one of my gate keepers. I should really dislike the magazine run and edited by people on dark days I view as the James May and Richard Hammond of the music world. Not evil enough to be a Jeremy Clarkson, just annoying enough. I'm my youth they were the last and least charismatic presenters of the Old Grey Whistle Test, a distinction of sorts.
I'm starting to really respect their damn magazine, despite their sulky dislike of Punk Rock. The best columnists around, not giving album reviews a star marking.They are making you think for yourself. A scary notion in modern Rock and Roll and the journalism that goes with it. Oh! and also the biggest article I've seen on Yo La Tengo in any of the monthly glossies. They also managed something I though would never happen. I'm part of the generation that doesn't listen to The Beatles. They split up the year I started listening to music, and come 1977, the year I was 16, and the age that defines your musical tastes, they were dead and buried. Shindig Magazine – another gatekeeper, summed them up for me recently, good but over rated. My heart sinks when I'm presented with another glossy cover of the fab four, I believe they add thousands to sales. Still a recent copy of The Word had them on the cover, and the articles were so good I actually listened again to The Beatles. There is no great epiphany, still think they are OK, if over rated. Anything that makes you re-evaluate long held beliefs and or bigotries must be good journalism.
I'm starting to really respect their damn magazine, despite their sulky dislike of Punk Rock. The best columnists around, not giving album reviews a star marking.They are making you think for yourself. A scary notion in modern Rock and Roll and the journalism that goes with it. Oh! and also the biggest article I've seen on Yo La Tengo in any of the monthly glossies. They also managed something I though would never happen. I'm part of the generation that doesn't listen to The Beatles. They split up the year I started listening to music, and come 1977, the year I was 16, and the age that defines your musical tastes, they were dead and buried. Shindig Magazine – another gatekeeper, summed them up for me recently, good but over rated. My heart sinks when I'm presented with another glossy cover of the fab four, I believe they add thousands to sales. Still a recent copy of The Word had them on the cover, and the articles were so good I actually listened again to The Beatles. There is no great epiphany, still think they are OK, if over rated. Anything that makes you re-evaluate long held beliefs and or bigotries must be good journalism.
Wednesday, 21 October 2009
Format
I'd forgotten this about Rock'n'Roll. Just how pervasively it eats away at your soul. I've just spent an hour or so working though a small press database I did for myself last week. About an hour later, about ten lines in, I'd had enough. Four emails, three dead sites and four wanting a Cd.
So? Two things. One. I emailed a contributor to one web site (as was suggested in their notes).
I'm an old Marxist, everything is an economic exchange. Chris, (it was the guy's name), please review my album... No, there is nothing in it for you, no BJ, or big bag of sweets. It will take up your time and will not pay your mortgage. What's that line from half a band hawking round a 30 year old classic album “an economic exchange in the bedroom”.
I read a very very rubbish book about rock venues recently. It was so bad I nearly killed another tree putting pieces of paper in betweeen pages of book to highlight the factual errors, and sections of prose that made the facts meaningless. Right until the end, where the book ends up with a couple of stunningly written and informative chapters. Totally out of tune with the rest of the book. So does it work like this? Evil publisher gives writer book deal around a couple of articles, but, with so little money said writer needs to cut and past the rest of the book from the internet over a weekend. Integrity or starvation?
Point Two. I can live with web sites wanting hard copy of our Album. What I might not deal with is when they ask for something that is not a Cdr.
For 30 odd years I've had two mantras, one of them being. “It was easy,it was cheap go and do it” an early “Desperate Bicycles” single. It has become so easy and so cheap over the recent years that “us creative's” can just shovel stuff into the ether at a pointless rate. Who are the gatekeepers? We have not moved forward if every website and magazine requires a glass mastered Cd before it will consider a review. But, we are moving backwards if the arbiters of taste, the journalists, are hobbyists too. At some point we must start paying for something. If not the content, the analysis of that content. If not, we will not hear the quality though the noise.
So? Two things. One. I emailed a contributor to one web site (as was suggested in their notes).
I'm an old Marxist, everything is an economic exchange. Chris, (it was the guy's name), please review my album... No, there is nothing in it for you, no BJ, or big bag of sweets. It will take up your time and will not pay your mortgage. What's that line from half a band hawking round a 30 year old classic album “an economic exchange in the bedroom”.
I read a very very rubbish book about rock venues recently. It was so bad I nearly killed another tree putting pieces of paper in betweeen pages of book to highlight the factual errors, and sections of prose that made the facts meaningless. Right until the end, where the book ends up with a couple of stunningly written and informative chapters. Totally out of tune with the rest of the book. So does it work like this? Evil publisher gives writer book deal around a couple of articles, but, with so little money said writer needs to cut and past the rest of the book from the internet over a weekend. Integrity or starvation?
Point Two. I can live with web sites wanting hard copy of our Album. What I might not deal with is when they ask for something that is not a Cdr.
For 30 odd years I've had two mantras, one of them being. “It was easy,it was cheap go and do it” an early “Desperate Bicycles” single. It has become so easy and so cheap over the recent years that “us creative's” can just shovel stuff into the ether at a pointless rate. Who are the gatekeepers? We have not moved forward if every website and magazine requires a glass mastered Cd before it will consider a review. But, we are moving backwards if the arbiters of taste, the journalists, are hobbyists too. At some point we must start paying for something. If not the content, the analysis of that content. If not, we will not hear the quality though the noise.
Saturday, 10 October 2009
Evaluation
Again to Bandcamp, following the grind to make the Bollnas Wolverines better known.
One of the guru's of music in the Internet age has a little theory
about how music is consumed.
about how music is consumed.
Basically is goes; one – hears, likes, then buys the music.
Which is interesting, because a lot of music I bought in my youth; one - read about it,
trusted the journalist, then bought it. A subtle but important difference.
Let's use Wire's Pink Flag an example of this.
In Wilson Neate's wonderful book on that album he states, the order of the tracks had been decided before recording commenced (page 75).
With Abandoned I had a sort of vague feeling we should sort of mimic the flow of Pink Flag.
So I followed that in a half baked way, starting side 1 with a long track and side 2 with an instrumental. Even splitting something that only exists on the Internet into two sides.
Pink Flag's long first track draws you into the rest of the album. Also by then you'd paid hard cash and was at home with the LP on the turntable.
Which is interesting, because a lot of music I bought in my youth; one - read about it,
trusted the journalist, then bought it. A subtle but important difference.
Let's use Wire's Pink Flag an example of this.
In Wilson Neate's wonderful book on that album he states, the order of the tracks had been decided before recording commenced (page 75).
With Abandoned I had a sort of vague feeling we should sort of mimic the flow of Pink Flag.
So I followed that in a half baked way, starting side 1 with a long track and side 2 with an instrumental. Even splitting something that only exists on the Internet into two sides.
Pink Flag's long first track draws you into the rest of the album. Also by then you'd paid hard cash and was at home with the LP on the turntable.
(Aware of the shocking hubris of mentioning Abandoned in the same breath as Pink Flag), I had a similar idea.
Using Bandcamp's statistics it has become apparent that no one has listened all the way though Bivouac. The original track 1.
It's a mood piece (or boring, depending on my mood).
Not a good way to get people though the door. Especially now where there are so many other free doors just round the corner. Back then you had paid, walked into the room and had no choice but to listen.
Hence a restructuring of the Abandoned's order. Moving away from what I felt in my heart to... Something we all know. There are lies, damn lies and statistics. I might have just become a focus group.
Using Bandcamp's statistics it has become apparent that no one has listened all the way though Bivouac. The original track 1.
It's a mood piece (or boring, depending on my mood).
Not a good way to get people though the door. Especially now where there are so many other free doors just round the corner. Back then you had paid, walked into the room and had no choice but to listen.
Hence a restructuring of the Abandoned's order. Moving away from what I felt in my heart to... Something we all know. There are lies, damn lies and statistics. I might have just become a focus group.
Sold a bit of my soul, in a place were no one seems to want it for free.
Thursday, 1 October 2009
Dunces
Gigs part Two….
What do you do for a living?
Really?
Tell you what; I’ll turn up where you work on Monday, pissed,
and I’ll still tell you how to do a job I’ve never done.
I know you cannot hear the vocals, but that’s because the band wouldn’t turn down and/or the promoter, to make more money, wouldn’t pay out for a PA that would do the job.
So you’ve done this at college, have you?
Well that’s interesting, why have you spent the last few minutes looking at the lighting desk telling me to turn the vocals up?
Or. Over there is the EQ box, or so you tell me. In my world it is the Sound Desk or FOH Board, or something like that.
Which college did you go to?
Just don’t, don’t talk to the technicians about your thoughts about the quality of the sound or lights. They will know what is wrong, and they will be trying to fix it.
You are drunk but we have a bit of pride left.
You have been there…
I feel I have lifted a weight…
What do you do for a living?
Really?
Tell you what; I’ll turn up where you work on Monday, pissed,
and I’ll still tell you how to do a job I’ve never done.
I know you cannot hear the vocals, but that’s because the band wouldn’t turn down and/or the promoter, to make more money, wouldn’t pay out for a PA that would do the job.
So you’ve done this at college, have you?
Well that’s interesting, why have you spent the last few minutes looking at the lighting desk telling me to turn the vocals up?
Or. Over there is the EQ box, or so you tell me. In my world it is the Sound Desk or FOH Board, or something like that.
Which college did you go to?
Just don’t, don’t talk to the technicians about your thoughts about the quality of the sound or lights. They will know what is wrong, and they will be trying to fix it.
You are drunk but we have a bit of pride left.
You have been there…
I feel I have lifted a weight…
Civility
As I mentioned in the first post, I work in in a local theatre.
To me the venue is an extension of my front room. You invite a few people round to have a few beers and watch stuff, and everyone should have a good time. As with your house you occasionally ask yourself who you have invited in?
Lets start with the acts. When did schools stop teaching people to introduce themselves? Over the years I've had; Stewart Lee, Kurt Wagner, Jason Peirce, Richard Herring, Lloyd Cole, Mark Thomas, and many many others walk into my pretend front room, shake me by the hand and tell me who they are. As if I didn't already know. Modesty and talent hand in hand.
The funniest was “carry that in for me, put that there, could you move that to there”. After a few minutes of this “Oh my God, I'm so sorry, I'm Glen by the way, it's so rude of me not to introduce myself and ask you to do all of this”.
But since it was Glen Tilbrook, one of Britain's best post war songwriters I was quite ready to forgive him.
And when you get the likes of Martin Carthy and Peggy Seeger introducing themselves, this really is politeness on another level.
Anyway, last week, we had a three band bill; the inexplicably famous, the unbelievably signed and the bewilderedly local. About half an hour after the time the bands should have arrived a couple of people walk in and sit on the stage. Myself and the sound engineer were evidently invisible.
“Can I help?” Is my stock question at this point. The sub text being – how dare you walk into this space and blank me, how would you feel if I was walking round your cheap and no doubt badly decorated house, ignoring you and passing comments on you revolting wallpaper, I've scraped better things off my shoes than you.
You aint got off to a good start.
Some of then get it some of then don't. They did, and I enjoyed their company more than I did their band. So about an hour after the next get in time more gear start to appear, this time with a shouting Scotsman. After about 10 minuets of shouting and swearing at me and the sound guy he mentions in passing that he is the sound engineer for the band. If he had told us this to start with we might have been friends.
He might have good “ears” as they say, but with that attitude he wont have a full set of teeth for very long.
So in conclusion, if you are in a band, walk in find out who's in charge, introduce yourself, be polite, ask questions, look like you are interested in the sorry plight that has brought them to this. Remember, it's not the technicians fault he doesn't know who you are, it's yours for not being famous enough. But I assure you, they will remember the next time you meet on your way down the slippery pole of fame.
To me the venue is an extension of my front room. You invite a few people round to have a few beers and watch stuff, and everyone should have a good time. As with your house you occasionally ask yourself who you have invited in?
Lets start with the acts. When did schools stop teaching people to introduce themselves? Over the years I've had; Stewart Lee, Kurt Wagner, Jason Peirce, Richard Herring, Lloyd Cole, Mark Thomas, and many many others walk into my pretend front room, shake me by the hand and tell me who they are. As if I didn't already know. Modesty and talent hand in hand.
The funniest was “carry that in for me, put that there, could you move that to there”. After a few minutes of this “Oh my God, I'm so sorry, I'm Glen by the way, it's so rude of me not to introduce myself and ask you to do all of this”.
But since it was Glen Tilbrook, one of Britain's best post war songwriters I was quite ready to forgive him.
And when you get the likes of Martin Carthy and Peggy Seeger introducing themselves, this really is politeness on another level.
Anyway, last week, we had a three band bill; the inexplicably famous, the unbelievably signed and the bewilderedly local. About half an hour after the time the bands should have arrived a couple of people walk in and sit on the stage. Myself and the sound engineer were evidently invisible.
“Can I help?” Is my stock question at this point. The sub text being – how dare you walk into this space and blank me, how would you feel if I was walking round your cheap and no doubt badly decorated house, ignoring you and passing comments on you revolting wallpaper, I've scraped better things off my shoes than you.
You aint got off to a good start.
Some of then get it some of then don't. They did, and I enjoyed their company more than I did their band. So about an hour after the next get in time more gear start to appear, this time with a shouting Scotsman. After about 10 minuets of shouting and swearing at me and the sound guy he mentions in passing that he is the sound engineer for the band. If he had told us this to start with we might have been friends.
He might have good “ears” as they say, but with that attitude he wont have a full set of teeth for very long.
So in conclusion, if you are in a band, walk in find out who's in charge, introduce yourself, be polite, ask questions, look like you are interested in the sorry plight that has brought them to this. Remember, it's not the technicians fault he doesn't know who you are, it's yours for not being famous enough. But I assure you, they will remember the next time you meet on your way down the slippery pole of fame.
Wednesday, 30 September 2009
Bandcamp
It's amazing how easily one gets distracted. The original idea was to set up the Bandcamp account, and then go off else where. I ended up finding The Bonnevilles and The Bon Scotts, while I should have been promoting myself. Both wonderful bands and well worth a listen. Bandcamp, easy to set up an account, they do all the hard work of file conversion of stuff like that and also gives us musicians statistics that actually tell you useful things.
The thing I really love is the artist page, lots of band names and picture of their latest “release”.
It reminded me of those halcyon days of my youth, where one had more time than money, (as if those times would return), where one would spend time browsing though record shops.
My favorite was the “Record and Tape Exchange” shops in London. These was a good article in last months “The Word” magazine on them. Browsing though, rows and rows of vinyl picking up the inexpensive and interesting looking. I spent a month in the mid 80's, regularly visiting the branch in Islington North London, waiting for Ed Kueppers' Laughing Clowns albums to come down it price. Got two for about £7 in the end. Then 20 years later got the complete works boxed set for around £15 when it came out on Cd. Which makes no fiscal scene at all. So back to Bandcamp, you can browse though the interesting looking sleeves and have a listen – something that isn't as straight forward in other music networking sites. As you can tell I got as far as the Bo's, something to do with my ego. I've got the rest of the A – Z to get though yet.
The thing I really love is the artist page, lots of band names and picture of their latest “release”.
It reminded me of those halcyon days of my youth, where one had more time than money, (as if those times would return), where one would spend time browsing though record shops.
My favorite was the “Record and Tape Exchange” shops in London. These was a good article in last months “The Word” magazine on them. Browsing though, rows and rows of vinyl picking up the inexpensive and interesting looking. I spent a month in the mid 80's, regularly visiting the branch in Islington North London, waiting for Ed Kueppers' Laughing Clowns albums to come down it price. Got two for about £7 in the end. Then 20 years later got the complete works boxed set for around £15 when it came out on Cd. Which makes no fiscal scene at all. So back to Bandcamp, you can browse though the interesting looking sleeves and have a listen – something that isn't as straight forward in other music networking sites. As you can tell I got as far as the Bo's, something to do with my ego. I've got the rest of the A – Z to get though yet.
Monday, 28 September 2009
A Start
Huh, how did this happen, it’s all down hill from here, I’ll be twittering from a crack den near you, given time. Mainlining technology. It must be the 21st Century.
Hi, I’m Steve from the Bollnas Wolverines, late 40’s band about a year old. Anyway, I’m here in an attempt to raise the band’s profile, that’s all. To be honest I’m at the age were asking me “why am I here?” on any other level just leads to a lot of crying.
I digress.
I’ll post bits about the band and it’s members and what we are doing. But, since that would even bore me, I’ll add gossip and useful facts from about 20 years in the music industry as a low key professional. Stuff about how we are promoting the band, and how these strategies work out. Recording and playing tips and tricks. Think pieces, tedious anecdotes, random digressions and impenetrable sentence construction. All of these will be here. If nothing else, you can point your kids here, or kids point your parents here, and say
“Keep away from music, accountancy is a much better idea”.
Enjoy.
Hi, I’m Steve from the Bollnas Wolverines, late 40’s band about a year old. Anyway, I’m here in an attempt to raise the band’s profile, that’s all. To be honest I’m at the age were asking me “why am I here?” on any other level just leads to a lot of crying.
I digress.
I’ll post bits about the band and it’s members and what we are doing. But, since that would even bore me, I’ll add gossip and useful facts from about 20 years in the music industry as a low key professional. Stuff about how we are promoting the band, and how these strategies work out. Recording and playing tips and tricks. Think pieces, tedious anecdotes, random digressions and impenetrable sentence construction. All of these will be here. If nothing else, you can point your kids here, or kids point your parents here, and say
“Keep away from music, accountancy is a much better idea”.
Enjoy.
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