Explore The Beatles – My pick of lesser known album tracks.

beatles

If you didn’t catch Part 1 of this blog (https://garryabbott.com/2014/05/13/access-the-beatles-part-1/) – here is part two of my attempt to share some of the lesser known album tracks by The Beatles that I think will enrich and enhance people’s appreciation for what they did for western music.

My full introduction can be found on part 1 – but just to reiterate a little: for those of you who have a good understanding of the Beatles catalogue, this blog may not be so revelatory, but hey, if you think these songs are cool already, then here’s a good excuse to revisit them!

For those of you (I guess quite a lot) who are aware of The Beatles number one records and most popular tunes, I think you may find that some of these songs will surprise you.

When I listen to these songs, I hear modern music. I hear the inspirations and experimentations that have shaped generations of artists. I hope you will too.

Note – I’m working chronologically following on from the last blog, hence numbers start at ‘6’.

 

6. I’m A Loser (Beatles for Sale – 1964)

I think this is the only song from ‘Beatles for Sale’ I’m going to include here. The album is great, and every song hints at the flexing of musical muscles they were building up at the time, but as a stand-out example, ‘I’m a Loser’ demonstrates the self-awareness that Lennon would go on to use (exploit?) to give his song’s meaning.

Meaning is sadly lost from a lot of modern popular music. The Beatles in part started this with a lot of songs that centred around pretty two dimensional love scenarios (She loves you, I want to hold your hand, from me to you etc…). The difference however, is that they were aware of this, and wanted to find better ways to express themselves. In this song, Lennon turns the lens on himself. It stills centre’s around a pretty banal situation (unrequited love), but shifting the focus and giving us hints of the ‘man behind the mask’ begins to introduce a depth of meaning (“although I laugh and I act like a clown, under this mask I am wearing a frown”).

Musically the song is, once again, nicely juxtaposed with the theme of the lyrics. There is obvious Bob Dylan influence here, and I fancy you can even hear Lennon trying his best to sound like him (especially in the harmonica section!). Using influences and making them your own is a huge part of a healthy creative process, as evidenced here.

 

7. I’ve Just Seen a Face (Help! 1965)

This is the only song I will offer from ‘Help!’ – mainly because the film and the album combined make many of them already so well known (Ticket to Ride, Hide Your Love Away, Help, Another Girl…)

‘I’ve Just Seen a Face’ is another foray into folk/country music, keeping us in theme with the last. It’s more jaunty, goes at a great pace, and goes to show that when they wanted to, The Beatles could do this style just as well as any band who were dedicated to the genre. This is another aspect that I think marked them out – they could cross genre’s with ease, almost like they were playing with them for fun. That shows understanding and talent, but more importantly, leads to catchy little numbers like this one!

Musically, I can imagine this song done as a slow ballad, a mid-tempo rock song, or even a fast thrash punk song! I reckon that’s a good clue to knowing when the foundations of your compositions are solid: when you can ‘hear it’ in different modes. Also – check out the introduction!

 

8. Think For Yourself (Rubber Soul, 1965)

George Harrison’s ‘Think For Yourself’ is a song of firsts. It was his fist none love song, and also the first song to feature a fuzz bass (possibly ever, but don’t quote me on that).

Here we see George Harrison start to look inwards and outwards, urging his listeners to make their own mind’s up about the lies and promises of the world, a theme that I guess took him on his spiritual journey and the study of Eastern thinking and spirituality.

The vocals are gorgeous. I can’t find a video of the harmonies isolated (though I’m sure that exists somewhere) – but just listen to the precise yet hauntingly slurring slide down the harmonic range accompanying each second line (also check out ‘If I needed someone’ on the same album for another example of this). It conveys a message, and it sounds cool. What’s not to like?

 

9. In My Life (Rubber Soul, 1965)

Okay, so many people may already know this song, but it’s worth putting it here even if it only reaches one person who hasn’t.

I haven’t much to say about Lennon’s melancholic masterpiece that can’t be understood just by listening to it. It’s the kind of song that brings tears to your eyes if you’ve ever lost anything that was dear to you. Lennon had his fair share of that, and even though this could be construed as a love song, I think it is primarily a lament for anything lost.

The use of the harpsichord for the solo is inspired, and shows a generosity by The Beatles in orchestration and allowing George Martin (the producer) to contribute. Without this, they couldn’t have developed like they did as their compositions transcended the need for strict format guitar solos and arrangements.

 

10. She Said She Said (Revolver, 1966)

As someone who grew up in the nineties and had my modern musical faith restored with the indie/Britpop resurgence that took us into the 21st Century, it is songs like ‘She Said She Said’ by the Beatles that made me wonder why it took so long to come back around. They had done it already. It was like everybody had forgotten and thought they were doing it for the first time. There is a line between rock, rock and roll, pop, and what we might recognise as ‘indie’ music today. The Beatles walked across all of them.

Musically – I think Ringo silence’s his critics in this song. As a former skiffle drummer, you can hear him ride the toms off the snare after nearly every phrase in a fusion of old and new that brings the song together. Interestingly, this is the only song not to feature McCartney: Harrison is playing bass! (I never knew that – the wonders of Wikipedia eh?)

 

Thanks for dropping by. More to follow at a date yet unspecified! Next week I am on holiday, so probably no blog – see you again soon!

Advertisements

Access The Beatles. Part 1.

Image

Something I haven’t talked about much on here is my love of the Beatles. I am a big Beatles fan. It’s not something I externalise much: I don’t buy Beatles duvet’s or plaster my walls with pictures, but I do, and have always, loved their music. They are a big influence on me.

One thing I’ve always wanted to do is point out a few tracks that aren’t so well known by none-Beatles fans. Obviously their catalogue is HUGE, but many people (I suspect) are more aware of the major singles and songs that have been covered and popularised by other bands (especially following the ‘1’ album that captured the imagination of a whole new generation some years ago featuring all the re-mastered number 1 singles).

So today’s post is going to be a few links to Youtube videos of less well know songs, and why I like them. If people like this post I will do another. I’m not particularly ranking these in any order of preference  – just picking some out that I think will surprise and delight newbie and die hard Beatles fans alike. (something for everybody, see?)

Let’s get started then with the first five (I’ll do more if you like it!). I’m working chronologically due to me referring back to album lists! By the way, unless stated otherwise, presume Lennon/McCartney for writing credits.

 

1. Ask Me Why (Please Please Me) 1963

First up, I’m only picking one from the debut album ‘Please Please Me’ – mainly because only half of the album was written by The Beatles, and most of the others are so well known now it would defeat the point of this post!

WHY GARRY, WHY?!

Because it demonstrates (even this early on) the Beatles use of close harmony, and deviation from standard Rock ‘n’ Roll, which leads to the kind of progressive song writing that I will be featuring!

 

2. It Won’t Be Long (With The Beatles) 1963

Next up, the opening track of ‘With The Beatles’ (second album), and definitely not the only one from this Album to feature here!

BUT MY GOD GARRY, WHY?!

The opening! The call and response of the chorus vocals which belts straight in, bouncing across the stereo, and then smoothing out into story-verses (all underpinned by the simple yet distinctive descending guitar riff at each section break).

 

3. Don’t Bother Me (Harrison) (With The Beatles) 1963

From the same album, George Harrison’s first writing credit.

EXPLAIN! I DEMAND YOU EXPLAIN!

Well, George Harrison must have had a hell of a time getting heard in these early days (even in later years this same problem led to him temporarily leaving the band). But this early outing is  a belter, and much opposed to the mop-top ‘whoooo!’ image of the time. It is gritty and angry, almost uncomfortably so, and this is expertly reflected in the arrangement and performance. Don’t you think?

 

4. Any Time At All (A Hard Day’s Night) 1964

Okay, things get a bit confusing with Album release if you’re trying to follow them through Wikipedia – so I’m sticking with UK releases, making this album #3 (feel free to correct me).

SO WHADDA YOU GO PICKED THIS ONE FOR EH?

A bit like ‘It Won’t Be Long’ – this just kicks straight in with a hook that drags you (or me, or all of us) into the song without a second to realise it. Just imagine this really heavy. There is still a skiffle/folk feel to the interlinking verses, but they just serve to lull you into the screaming chorus (and a brilliantly composed solo, hinting at the clever instrumentation that would come to define later studio work).

 

5.And I Love Her (A Hard Day’s Night) 1964

The next one from A Hard Day’s Night.

EXPLAIN YOURSELF YOUNG MAN!

Well, McCartney is getting into his stride writing the kind of songs here that seem to squeeze you like an emotional sponge. All the while he is singing, “I know this love of mine, will never die, and I love her” – the music is saying something else, something along the lines of “this love thing makes me want to despair for my very existence in anguished contradiction”. Which is brilliant. And then there is the arpeggio classical guitar backing and solo from Harrison, and yet another brilliant run down defining section changes. It’s a sad beauty.

 

Conclusion:

I could do this all day – but the blog would be very long, and I already write blogs that are too long which don’t involve 15 minutes or so of music! I’m sure plenty of people will be familiar with these songs, but still, some won’t, and it’s nice to give the less well-known tracks an airing, even if it is on my modest little blog.

If people like this, I shall do more, five at a time, over the coming weeks. Let me know by liking, commenting or just reading the page! (which, if you’re at this point, you already have done, so well done and thank you!)

 

About me:

I am a writer and musician from Staffordshire UK, currently touting my first published eBook ‘The Dimension Scales and Other Stories’ which can be found in these places. Please have a little look!

http://www.amazon.com/The-Dimension-Scales-Other-Stories-ebook/dp/B00JW1KMUG

http://www.amazon.co.uk/The-Dimension-Scales-Other-Stories-ebook/dp/B00JW1KMUG

https://itunes.apple.com/us/book/dimension-scales-other-stories/id862470105?mt=11

… and KOBO, NOOK and Barnes & Noble too! (just search for the title!).

Yeah, it’s my end of year thing for 2013 OK?

I know, I know – ‘end of year review’ e-mails, blogs and updates can get a little tiresome. But why? Maybe it’s because they intuitively conjure up lots of words that have the word ‘self’ as a prefix – congratulatory, obsessed, centred. It’s a curious thing that we shy away from sharing our own successes and challenges – maybe it’s cultural – but for whatever reason, I’m not going to let it stop me, this having been a landmark year for me personally and professionally. So you have been warned, this is an end-of-year review and will as a result be tediously reflective and upbeat. So there.

Obviously, it isn’t actually the end of the year yet, but very nearly, and near enough for me to want to clear the decks and not have to worry about doing blogs and such like over the next couple of weeks. So, unless I am struck by an uncontrollable wave of inspiration, I will make this the last blog of 2013, and try to have a ‘holiday’ until the new year.

A new start, long awaited.

In February this year I ended a decade of working in the wrong job. I say ‘the wrong job’ because it was, for me, the wrong job. I worked in a bank (formally a building society) as a ‘thingy’. A ‘thingy’, is a technical term for someone who isn’t able to answer the question “what do you actually do?” with any degree of clarity or precision. It’s not particularly good for your soul that situation, and the world is full of ‘thingies’. I was a kind-of technical specialist, I was a kind-of legal (compliance) specialist, I was a kind-of trainer, a kind-of auditor, a kind-of quality controller, a kind-of project worker, a kind-of data-entry clerk. One day I could be in meetings, discussing requirements for a multi-million pound computer system, all the while thinking “I’m not getting paid enough for this” and the next I could be endlessly tapping numbers into a spreadsheet, thinking “I’m getting paid too much for this”. There were many things I wasn’t quite, and many more things I’m quite sure I shouldn’t have been, but still it took ten years to break away thanks in no small part to the rut/routine that a (fairly) decent wage and a none taxing job can collude to create when you are busy figuring out who you are and what you want to be.

So that was the end of that. I left by my own accord, having hung on for a few years with the possibility of redundancy that never materialised, and unable to ‘get on’ with our new pay-masters: The Co-op, and their shambolic management (an assessment that I feel very much vindicated for, given the events of this year).

When I left, I had a few things lined up, which really helped me to get straight on with my new life as a self-employed writer & musician (you see – that’s much easier to define, isn’t it?) I had been running my creative activities alongside my old job for several years anyway, but I always suspected that I would need to let go of the comfort (and boredom) of the office job if I were to really ever fully embrace my aspirations. So far, I have found that to be true, and long may it continue.

 

Unearthed

The first ‘big’ job, which lasted throughout the year (at intervals), was the ‘Unearthed’ project. This was being drafted in as a supporting artist to help develop and produce community engagement with a new memorial sculpture in my home town of Stoke-on-Trent (specifically in the town of Hanley – if you are confused by that, it’s because we have this whole weird, six towns into one thing going on over here – look it up). As part of this project I got to do several awesome things. I got to write, narrate and score an animation that was then shown at several public locations and continues to be available as an online resource. I got to write my first choral piece (set to the words of my own poem) that was then rehearsed and performed by students of a local sixth form college at a memorial ceremony with city dignitaries in attendance. And I got to work with the real words of the people we engaged with the project to produce an oral sound-piece, used to accompany an original composition and dance routine at the unveiling ceremony of the sculpture. This project took me to places I hadn’t expected, connection with history and communities though art, a sense of integrity and responsibility with story-telling and representation of real world events that I had never considered or encountered before. It was a great experience and I can’t thank Nicola Winstanley and Sarah Nadin enough for involving me in their excellent project – I am a ‘Dashyline’ fan! (Visit the project website, here: http://www.unearthed2013.co.uk/)

The Audio Mill

There was also a continuation (and I fancy a building momentum) of my composition and production work alongside my good friend and collaborator Kieran Williams as part of ‘The Audio Mill’.  This year we have produced several pieces for fashion houses River Island and Mr Porter for use in their viral campaigns. From a professional development point of view, working to brief to compose and produce original music in a variety of styles really helps you to hone your technical and creative abilities. So far (as I know) they have been very happy with all the work we’ve completed for them, and the videos our music accompanies are popular and well received. Obviously, the world of fashion houses feels miles away from me in my small office in Longton, laying down rhythms, bass lines, guitar licks and melodies, but thanks to Kieran’s ever fruitful move to London, the chance to showcase our abilities to a larger audience through an established outlet, is a welcome one, and I look forward to more work like this in the new year. Examples here: http://www.theaudiomill.co.uk/

Newsjack

My first BBC broadcast credits happened this year, in the form of several one-liner jokes and a sketch used as part of Radio 4 Extra’s topical comedy show ‘Newsjack’. There have been two series this year, the first airing while I still worked at the bank. However, I managed to get two one-liners into the first series anyway, and given the extra time and emphasis of self-employment, was able to up that score to 5 one liners and a sketch in the latest series! This is very satisfying work when it happens and takes time and practice to get right – the business of joking seems to be a serious one. This is an aspect of my work that I want to take forwards into 2014 one way or the other. I will, of course, continue to submit to Newsjack when it comes back, but one eye must be kept on ‘where next?’ – building on the successes and reaching for more regular and guaranteed work. I’d be happy if I could find a way to get some one-liners onto other radio 4 programmes (shows like the ‘Now show’ and ‘News quiz’ often have writers that have started through ‘Newsjack’ – it’s just finding the link in or being a persistent bugger I suppose). I have also tickled some light interest with a sit-com script this year – falling short of the mark but getting good feedback and encouragement from an industry insider. If the right idea comes along, I will be writing and pitching new series next year, as well as looking to contribute to more programmes. Watch this space. (well not this space, this space won’t tell you anything new – I’ll be more specific about what space to watch when we come to it).

 

Poetry

Poetry is something I do rarely, and am quite self-conscious about, but that might change following the publication of one of my (very few) poems written this year in a collection. The poem ‘I’m alright Jack’ was chosen out of 600 odd entries to form part of a collection of 50 poems by the publisher mardibooks called ‘The Dance is New’. It is a genuinely good collection, and naturally, I would urge you all to buy a million copies each from here: http://www.amazon.co.uk/The-Dance-New-Michelle-Calvert-ebook/dp/B00FL887N8 (I promise you I am one of the authors! For reasons of Amazon weirdness, my name is not listed at the top of the page, but I am linked at the bottom – I am in there basically).

                This is another area I intend to return to and perhaps ‘force’ a little more poetry out and onto the world (that’s not a bad thing – so much writing takes effort to get down on the page, just waiting for inspiration is not at all conducive to career development).

The Dimension Scales

Did I mention that I gone written a book? No? Well I have. It has been in development all year (and most of last year), a collection of short stories that will be released in 2014. This has been my favourite part of this year’s work. I finished my creative writing studies a few years ago, and this feels like the first piece of work that really puts all my learning together into one collection. I’m sure you’ve heard me go on about this before, and as of yet, there is nothing new to show you, but soon, very soon. I’m hoping that I will learn a lot of lessons from the release of this collection next year, and that a new work will be hot on its heels when I’ve had chance to digest the experience.

Education

I was thrilled and a little shocked to have achieved a distinction in two Open University modules this year: Philosophy and Arts History. Both form part of a BA degree I am working towards. Currently I am studying the last two modules (a higher level philosophy course and social science), and these will complete in 2014, at which point, I will get my degree. I started this education journey with nothing but the desire to learn more about creative writing (the first two modules that I completed three years ago now) – and was overcome by the education bug. I have since chosen subjects that I hope have informed me and my work in a positive way. History, social science and mostly, philosophy, are all helping me to get a deeper understanding of the world and myself. I would recommend to anyone who feels they might have ‘missed out’ somewhat during teenage years to revisit education if they can, or have the inclination. Learning is fun when you’ve chosen to do it and the subjects interest you. I don’t know if I will continue after the degree (I might leave it a year before deciding whether to do a Masters), but I hope to take the subjects I’ve chosen forwards into my work and life at every opportunity. They are already paying dividends.

Gravity Dave

My band ‘Gravity Dave’ have had a solid year as we’ve welcomed a new drummer to our number, written some great tunes, and gigged fairly regularly throughout the year. We have basically written and rehearsed/performed an album’s worth of material this year, and I think 2014 is the year to take this to the next step with quality recordings and more and more gigs. The main thing is that we all still find it really fun, creative and rewarding, so we’re not going to stop, and the music’s gonna keep flowing. I need a band, it is part of who I am and what I do, and I feel privileged to be part of this one with such great musicians. We’ve had a bit of a lull just in the last month or two due to problems with rehearsal space and health, but we will be back next year, and I promise, it will be bigger than ever. www.facebook.com/gravitydave

 

Anything else?

Well, this blog for one thing. When I started this, I didn’t know quite what it was meant to be, and I still don’t. All I know is that I enjoy it, and so do other people it seems. It’s quite a mixed bag as I’m sure you can tell. But it feels very important to me to keep on at it. It’s a bit like a digital sketch pad, a place to vent and experiment, reflect and celebrate. I hope those of you who follow this blog are generally entertained by it, at least enough to keep coming back. I have had some brilliant feedback from people directly, and I want to thank everyone who comes here and reads this. It’s kind of spooky that more people read this than I am aware of (according to the stats), but anonymity is the readers prerogative, and I appreciate your time spent reading my words greatly.

Another unexpected but fun development has been the rise of ‘ADMIN CAT!’ – a silly cartoon I produce to keep myself and some passing social network types entertained for a few seconds each week. This has potentially led onto some exciting developments for 2014…

 

And a happy new year!

I’m sure that as soon as I’ve finished writing this I will remember a whole bunch of other things. I have supported some great people and endeavours this year in a number of other ways not listed here. I occasionally still ‘do the spreadsheet thing’ for small businesses, and special mention has to go here to Misco Chocolates (www.miscoschocolates.co.uk) who are a constant inspiration to me in their attitude to life and work, both as business people and friends (as are all my friends, I must say).

You may notice a lack here of any personal details about the rest of my life! That is for two reasons: this blog isn’t really about that, and it hasn’t changed much (in a good way!). I live happily with my partner and my cats, and I love them all very much (even when they do bring in dead mice – the cats that is, not my partner).

So, all that is left is to wish you all a very merry Christmas and a happy new year! Please feel free to drop links to your end of year reviews or any  other work into the comment boxes – it is the least I can do to read yours if you have stuck with this! I do write really long blogs, but I don’t care, this isn’t Twitter. Thanks, as always, for reading. Here is a picture of me in a hat as a Christmas treat:

Image

Garry Abbott.

Mosaic.

Today my band ‘Gravity Dave’ have made available an early mix of one of our original songs, ‘Mosaic’.

Now, I can sit here and tell you why you should listen to it, that it ‘rocks’ and suchlike (it does), but that’s not really what I’ve got this blog for.

So instead, I’m going to use this particular chunk of cyber space to look at the lyrics, do a bit of a self-critique and explanation of the process by which I get lyrics together. Of course this changes from song to song, but some elements remain constant throughout the process.

This may seem a little self-indulgent, but we all listen to and absorb song lyrics every day without giving them too much thought (unless they are particularly strong or controversial) and I would wager that a whole host of music lovers wouldn’t give much heed to poetry while still being able to recite the words to hundreds of their favourite songs. So today is an exploration of the lyric. And to top it all, you can listen to the song afterwards, if you like.

Ever remember school assemblies where the teacher would take the Lord’s Prayer line by line, examining the nuance and meaning of each word? Well, we did, every term. It was interesting (the first time around) and stopped it being a drone of syllables we all strung together in a lazy drawl every morning. Whatever your beliefs, whatever text you are studying are hearing, conscious awareness of the moment, the content and the context is much better than an apathetic wave of indistinct noises passing through you, passing by you.

Funnily enough, that scene, sitting cross-legged in a cold school hall, listening and learning, putting your hand up to be spoken to, taking it all in, forms the basis of ‘Mosaic’, as you can see in the first verse:

Dusty floors, cross legged and cold. Rusted doors, criss-cross windows. You clap and fall down.

                The ‘criss-cross’ windows are those safety glass door windows you get in public places, schools, hospitals and such like, where within the glass pane there is a black metal grid. Clapping and falling down, well, as I remember, there used to be several games like that.

Raise your hand, and comply. Understand, we’re all trying to not let you down my friends.

                Here we start to get the theme of the piece. This song started as an idea about conformity, the lack of critical thinking, the architects of our personalities from cradle to grave, concentrating on the most malleable time of our lives, school. In this case, primary school. Now I’m not saying I had a bad time at primary school, I didn’t, but I want to contrast the very ‘English’ Methodist school upbringing I had against the anxiety I often feel now, the world being as it is. It may have been okay for me, but education was very rigid, very set-in-its-ways, very, well English, I’ll say again.

On a technical note, when you hear the song, you’ll hear that the word ‘trying’ both forms the end of the line and the start of the next, split in half by the syllable’s. I like doing this, it’s fun.

So that’s the first verse. I’ve built on the theme I have in mind with the imagery of my school days. Onto the chorus.

We’d never say it but you are Mosaic, please stand far way and you’ll get the full picture.

                Now we get the first mention of the title, Mosaic. If memory serves me well, this was a natural progression from the preceding ‘we’d never say it’. It’s cool when you can get one word to rhyme with two or more others. Of course ‘say-it’ and ‘Mosaic’ are not true rhymes, rhyming as they do on the vowel sounds of the ‘a’ and ‘i’, but  it’s not tenuous and passes by the ear well I think.

Once I found the word ‘Mosaic’ (a great word, don’t you think?), the rest of the chorus can start to be constructed around it. Obviously, standing away to get the full picture is a feature of mosaic’s – close up they are just a senseless amalgam of shapes and colours.

We’d never risk it a broken statistic, we’ll stick to the past and the pain and the scripture.

You may have noticed that the voice changes in this section too. I’m now speaking as ‘the man’, as it were (such a hippy). This is not to blame anyone specifically, but our education system was provided to us at the whim and prudence of the wealthy and utilitarian. Although there are some great people doing great things to recognise and nurture individuality and critical reasoning, it is hardly the main aim of the system. No, let’s face it, the main aim of the system is to compartmentalise us into an economic unit and classification to enable statistics to be drawn and activities planned on a global scale. That’s just the truth of it, not even hidden. Now more than ever our kids are being ear-marked for their future demographic from the moment they walk into school. That’s why ‘we’d never say’ that you are a complex picture of many aspects, and not ‘risk’ producing a broken statistic (one that breaks out of the prescribed parameters), and we will stick to traditional teaching. The use of the word scripture here is just to reflect the lack of choice we had in our spiritual/religious teachings at school (or exploration of the alternatives). The ‘pain’ is a lyrical liberty, but can mean the net-effect of all these considerations.

We’re trying to reach you, to reach you, to reach you… etc..

This is the hook line of the chorus that I ‘ramp up’ from a chant to a high-scream! It is a mantra of education I think, I hear it a lot in interviews with various ministers. Simultaneously trying to ‘reach’ through and connect with the individual while trying to fit them into a starched curriculum. Onto verse two.

                Afternoon’s, bruised knees and fights, silver spoons, stay out of sight from playground kings.

Break-time! Everyone loved break-time right? Unless you were being bullied or what-not, and then it was shit. I went through patches of this. It’s not nice. When I moved to Stoke with my family aged 9, my accent was different. I was sometimes accused of being ‘posh’, which was funny seeing as I had moved further South from Scarborough, my parents were originally from Middleborough and Essex and from a ‘proper’ working class background. But kids are kids. This is just a hark back to the ‘rule of the playground’ where the kids who liked to taunt and bully roamed free, and the rest of us just tried to get on with it. Thankfully, the vast majority of us.

Broken bones, shattered by words, sticks & stones, don’t even hurt, don’t even sting, here comes the break…

Having said all that about ‘kids will be kids’, I’m sure some of you experienced the old ‘sticks and stones may break my bones but words will never hurt me’ line when trying to tell an adult about some nasty piece of work giving you a hard time? I always thought it was a cop-out, I think I still do. Words are one of, if not the, most powerful weapon in our arsenal. They may not have the immediacy of weapons, but without them, there would be no weapons. I can hardly see us grunting our way to the discovery of combustion and ballistics. Language, words, as has been well described before by much greater minds than mine, just chip, chip away, constantly being  rearranged, altered, strung together and stored. Surges of meaning and revelation build over centuries, generations, and sometimes can spark in a moment and change everything. If you think that words can’t hurt, you are not giving them the reverence and respect they deserve. As for the ending line, that’s a little joke, it is both the ‘break’ of bones, and literally signalling the ‘break’ before the chorus.

Which brings us back to the chorus that in true rock/pop style, is a repeat of the first without deviation. This leads nicely into a musical outro that strips back the themes from the song and then builds them back up again into a climactic progression, underpinned by our drummers excellent tribal tom-tom backing.

Well, I enjoyed delving into that. Of course, when I wrote these words, I didn’t sit here and think of all this for each line. Generally, I start with either the theme or an interesting combination of words and then build it up from a mixture of ad-libbing at practice and good old graft with the pen and paper. My words are almost always led by rhyme, set within a context. That’s the challenge. Trying to find a word that fits without distorting the theme. On other occasions the song may be totally led by the sound of the words, purely for aural-aesthetic purposes. This leads to lyrics akin to Lennon’s ‘I am the Walrus’ and ‘Come together’. They are celebrations of words, loosely held together, but more for their own sake. I like this but you can’t do it all the time, not if you want to convey any coherent association of ideas at least occasionally in your art-form. It would be like only ever writing stream-of-conscious monologues forever, which although fun, lack poignancy and depth.

If you read this and enjoyed it, please, please take a listen to the track which all being well, should be posted below here. I am lucky to have such a talented group of guys working on these songs to set my words to. Musically I love this piece but am only responsible for the melody, my guitar parts and maybe the chords of the chorus… (can’t remember right now!) I could write a whole other blog on the musical construct of this song, but maybe I’ll save that for another piece, another time. Also, if you like it, give us a ‘like’ on Facebook (linked below) & reverbnation, there are plenty more songs coming and we gig regularly. Thank you.

Listen here:

http://www.reverbnation.com/gravitydave/song/18135122-mosaic-studio-demo

Like us here:

www.facebook.com/gravitydave

We have such faith in you that we want your money.

Last week my band ‘Gravity Dave’ was approached by yet another ‘Artist Development’ company through our Facebook page. Up popped a message from ‘Sweet Home’* music in our inbox telling us that:

“I listened to your tunes and I really like them! What are your plans this year? – Bob.*”

At last! Thought we. This seems like a music company taking interest in what we do after all the hard work we put into writing, rehearsing and performing our original songs, at our own expense, regardless of the overwhelming odds against us. So with excited fingers, we thank the mysterious yet tantalising admirer, and tell them that naturally (being a band and all) our plan is to record and have more gigs, you know that kind of thing, the thing that bands do. He replies (ever so quickly and efficiently):

“We might be able to help you with that guys, you should come up for a chat.”

A chat! A chat! With a real life music company! A chat? Us? Why, dreams really do come true. We knew it was only a matter of time, and faithfully, time has delivered to us the prize we sought.

But hang on, we say, steadying ourselves and desperately trying to suppress the bubbling excitement that has us wide eyed and gripped with anticipation; maybe we should just check, and be sure, as we don’t really know who these guys are yet. It’s just a precaution of course, sure it won’t make a difference. They’ve already told us how much they like our tunes and that they want to ‘chat’, but just in case…

“Can you let us know what you can offer us?” we ask cautiously, not wanting to put our heads so far down this gift horse’s mouth that they may be bitten off. But it was ok (phew!), Bob was obviously keen not to let us wander down the path of uncertainty, and obligingly and quickly answered our query:

“We can help you match up to industry expectations! Every band wants better gigs and more exposure, but there is a way of doing it…”

He’s right you know! This guy must know his stuff. Every band does want better gigs and a wider audience. Damn those industry expectations, even though he thinks we are good, we obviously mustn’t be the right kind of ‘good’ for the industry. Thank the God of Rock that these people got to us in time to tell us this. Only one more little question to ask and then we can start down the path to enlightenment, leaving fear and uncertainty behind.

“Will it cost us anything?” we ask, almost jokingly, because by this point we’ve checked out the website, and the ‘artist development’ spiel doesn’t mention costs or services, it is a selective process that only the acts they want to work with are offered. They solicit acts to ‘send in’ mp3s for consideration. But in our case (cos we’re special) – they’ve come to us. A Brucey bonus of epic scale. We eagerly await Bob’s reply, a mere formality of prudence we are sure, but still. And then he tells us, with dream shattering clarity:

“Ha ha ha! Lol. We’re not a charity for musicians! But we make bands what they need to be at an affordable rate.”

At this point, I will drop the sarcastic appraisal of this conversation. We never really expected anything different, having had our time wasted by a similar company in the past who ‘liked our tunes’ and ‘wanted to chat about being on their exclusive development label’. We wasted a whole afternoon travelling to their studio and being told that they could produce our music, from the bottom up, reworking our songs, adding production, making them ‘fit’ the industry and then promoting them to all the ‘right’ people and radio stations (BBC Nottingham no less! How could we refuse?). They paid us vague compliments which didn’t specify any particular tune they liked or anything about it. They looked and sounded like they were making this speech for the hundredth time that week. In short, they finished their pitch, and at the end, when they asked us if we had any questions, we asked the same thing… “Will it cost us anything?”.

Guess what? It would have. I can’t quite remember now, but it was around £1000. That included the recording of three songs (with massively intrusive production methods to re-work them and add ‘strings’ and ‘horns’) and then some vague talk of promotion, of which only BBC Nottingham Radio was actually mentioned. As we drove back, having thanked them for their time and promising to let them know what we thought of the ‘deal’, it dawned on us that they weren’t really a well-known promotion/recording company. That they didn’t really like (or probably even listen) to our tunes… they were just after our money! The charlatans! They were basically just a recording studio trying to find ways of getting clients!

You might find this hard to believe, but we found that day, as we did again last week, that there are people in the music-business who will basically lie and deceive to get your money from you! Who would have thought it? In such a happy and creative industry! So when Bob from ‘Sweet Home’ music was giving us the same pitch and tried to laugh off our genuine question regarding costs… Something inside me flipped. (this is my response verbatim…)

                “Why does your website not make it clear when asking acts to contact you with their tunes for consideration that they will end up paying? It’s not really ‘consideration’ when you are charging bands… It is just basically a recording studio under a different name trying to make out that they are offering an ‘exclusive’ service, rather than presenting costs up front. We’ve had this before from other such studios that tried to convince us they heard something ‘special’ in our music and then wanted £500-£1000 to develop it. It’s a shame that this sector of the industry is turning in on itself for revenue, rather than looking to audiences. We are okay thanks. If you really felt we were worth it, you would take some risk with the costs and negotiate a share of the resulting revenue. If you want to not seem like you are fleecing people, maybe mention the costs in the first approach rather than wasting time calling meetings and making it out like the acts has been chosen, when really it is just another potential customer. Good luck, but I don’t think your business model will be the one that cuts it in the new digital age.”

He didn’t like that. This is an interpretation of his response:

“Thanks but your attitude is wrong. Everyone needs to put food on the table.”

Food on the table? Food on the table?! He wants to dupe us into using his companies recording studio under the guise of some vague promotional activities, as if it was exclusive, and he thinks that putting ‘food on the table’ is a valid excuse? These guys own a recording studio. We know that if we want to record in such a facility it will costs us money. That is a service. A service is a service, end of. It is not an exclusive offer or opportunity. It is money changing hands for an agreed itemised service. Why all the cloak and dagger, vague compliments, offer of chats, no mention of money on the website?!! I retort:

“Just be up front with the fact that you charge people and it wouldn’t be an issue. It’s like someone saying ‘You’re a really good guitarist and I’m a talent scout – all you need to do is pay me £500 and I’ll make you even better!” – it doesn’t make sense. It’s a pitch. And as a pitch, I think it’s a bit of a sneaky one. – I’m a self-employed composer and writer outside of this band, so I know about ‘having to eat’ but I still have to go after genuine projects and am constantly dodging people who want money from you to achieve ‘success’ so I believe my attitude is one of logical self-preservation and I will be advising everyone I can not to get wound up in these dubious schemes. Golden rule – if someone is asking you for money while promising success, it is they who have the wrong attitude. Been the same for time immemorial. You’re not the first to make almost exactly the same pitch to us so we’ve already been burned by the ‘come along for a chat – we think you’re good and we want you on our label’ – and then finding out they also want £1000 for it! Appalling. Watchdog beckons, say hello to Anne Robinson for me.”

He liked this even less. His response, again interpreted, was:

How dare you accuse us of not running a legitimate business? We are selective with our clients but we earn enough to live on and are very good at what we do.”

That alas was where I terminated the conversation for the sake of my own sanity and constraint (the next things I said would not have been the prettiest of words). Apparently the people who ‘need to put food on the table’ were actually earning a good living. They are, they say, selective with their clients. But why would you be? If you believe that you know what the industry wants, why wouldn’t you produce the hell out of anything that comes your way if you are getting paid for it?

My regret is that I did not calm my rage and string Bob along for a while, but I was overcome by the same feeling you get when a cold-caller rings you up and starts asking you questions about your life before telling you who they are, what they are selling, and how much it costs. To summarise the thorny:

  • If you liked our tunes so much, why do you think we need ‘re-shaping’ into something the industry wants?
  • Why would we want to be ‘re-shaped’ into something the industry wants? The industry is in flux. We are the industry if we choose to be. There’s this thing called the internet, look it up.
  • Even as a pitch it is lazy. Just adding the name of one of our songs to the opening gambit may have helped. Let alone some qualification as to why they ‘liked our tunes’.
  • The website of said company is sparse, makes no mention of costs and gives a strong impression of exclusive deals being brokered if you are chosen. This is just plain misleading, if not criminally so. (I’ve emailed the OFT about the general status of these companies – if they reply, no doubt that will be another blog).
  • It’s  just a really, really shitty way to do business. They may not have known that the average age of my band is around 38, but for young bands, they really would have felt that surge of excitement and joy with an approach such as this. They would have gone to the meeting and been easy targets. Their parents would have picked up the bill and at the end of it, they would be just another band, with a handful of recordings and songs that have been ripped apart and rebuilt by some meddling middle men who think they know what the world wants to hear. The only difference is that they (or their parents) would be several hundred, if not thousands, pounds lighter and tensions would be high.

I researched this phenomenon a little and found that as the music industry has contracted over the last decade or so (due to the internet), the first to go were often the ‘A&R’ men. A lot of these A&R men set up recording studios with the added dimension of an attached ‘promotions company’ that could draw on their experience of the industry. The general warning is to avoid at all costs. These are the people who were first out when the traditional industry collapsed… why would you pay them to try and shape you into something that they are no longer part of? These were the bull-shitters, and they now reside in small recording studios up and down the land, ready to exploit as many musicians as possible. They’re not after success for their acts, why would they when they have no incentive? They are paid upfront for their services that are limited and temporary. They aren’t willing to risk anything on anyone, they just want your money, our money, the money from the musicians who don’t have any to start with.

And I’m sure that there are those companies out there (this may have been one) that if you pay them enough, will accordingly promote you as much as they can and may even help you to move a notch or two up the ladder of notoriety. But this is a service, and one that other companies legitimately advertise as so. If the opening message had been something along the lines of:

“Hey guys! I am from a music promotion company. We can offer you a competitive package to record and promote your music. We have listened to some of your music (I especially like the driving hooks of ‘Here we are’ and ‘Clearly Wrong’ by the way!) and think that what we offer is something that can really help just polish it up to the standard that some parts of the industry want to hear. For a full list of our services and basic costs, please visit our website or feel free to ask me anything you want. Good luck with the band, we hope you would like to work with us as we would like to work with you.”

… then at least we could have had the courtesy of saying ‘no thanks’ with full knowledge of just what the hell they were talking about. And even so, this kind of practice is attempting to re-align a failing industry to one that makes its money primarily from the artists, rather than the audience. It is negative practice, and I am aware of bands out there who have ‘paid their way’ to success of sorts, literally having hundreds of thousands of pounds spent on them to get onto TV and radio, and still aren’t that well known. It is the death throes of a dying practice that needs to disappear. So I would urge you if you are in a band yourself, or know others who are, and come across this kind of offer, to walk away with two fingers held firmly and defiantly aloft. If you must spend money, spend it on yourselves or use those companies that don’t present as one thing when they are really another. If you want to spend money on promotion, there are plenty of people lined up to take your money without pretending that you are ‘special’ and that it is ‘exclusive’ – they will simply take your money and do what they do, without the confidence tricks to get your business.

Anyway, there is surprisingly little out there on the net about such companies, and obviously I’m not going to cite the one’s mentioned, so here is a little to go on (below). Thanks for reading and please share your experiences of this with me (if you have them) in the comments below!

A good blog on some red-flags to look out for:

http://campbeit.com/blog/how-to-avoid-music-business-scams/

Another blog, read the ‘Artist Development’ section. It also does a lot to define what is and isn’t a ‘scam’, which legally, can be quite important! (I’m not saying that these companies are scammers – they are just unethical and treading a blurry line between scam and legit)

http://www.idnmusic.com/education/indie_alert_are_these_people_really_scammers.html

Of course, my band was mentioned so…

www.facebook.com/gravitydave

* The company name and contact have been changed. If there is a real company called this with a ‘Bob’ working for them, that is a coincidence and quite accidental!

Live music is alive in Leek

This bank holiday I had the pleasure of attending and performing at ‘The Situation’s Big May Birthday’ event held at the Foxlowe arts centre in Leek.

For those not local or aware of those words what I have just said, ‘The Situation’ is a live music promotion group based in Leek, spearheaded by Simon Edwards and Steve Hamersley. The ‘Foxlowe’ is a beautiful 18th Century manor-house type thing (note the precise architectural analysis here…?) which was remodelled in the early 20th Century and is a grade II listed building. Leek is a small market town in the Staffordshire Moorlands at the foot of the peak district.

So, now you know what I’m talking about, I can take each in turn. ‘The Situation’ have been going for several years now, hosting regular events at various venues, always pushing to get live and original music back into people’s social schedule. I first played one of their nights around four years ago at the now closed ‘White Swan’ (a beautiful old building with a great function hall, which has alas been sold to Wetherspoons so they can come in and leech as much character and personality from the building and surrounding area as possible, but that’s another story) with my former band ‘sMelt’, and as I remember, it was well attended and a great night was had by all. Since then, like all ventures, they have had their fair share of challenges, from poor attendance, to sound set-up, to venues being closed etc… but they have relentlessly continued building up their name and reputation, seeking out new bands and civilizations, and going boldly where no local promotion company has gone before. Excuse me, went a bit Trek then.

Well last Sunday’s ‘birthday bash’, featuring 19 acts in 12 hours over three stages, I think, was their defining moment so far. The culmination of their persistence and passion to get things moving, the day was well ran, well attended, showcased a dazzling array of local, national and even international  bands (some Canadians in the form of Fist City added this element) and the sound was spot on. I will briefly mention that the weather was also beautiful, which is fortuitous, but I don’t think Simon and Steve can take credit for that unless they have fostered some secret mad shamanistic skills I’m not aware of. They had the excellent idea of setting up two stages at each end of the main hall so that as one band played, the other set up, keeping the day on schedule, punchy and joined up throughout. In the early stages they kept it to acoustic acts set up outside on the Foxlowe’s beautiful exterior patio and grounds which gave the early audience chance to settle in, relax, and break themselves into a day that picked up pace from about 4pm onwards with the onset of the ‘ping pong’ bands in the main room stages.

So yes, this was a good day for live music and a good day for Leek. I’m unqualified really to review the acts, I’m a musician not a reviewer, but it was an eclectic mix, ranging from the angelic tones of acoustic act Dominic Morgan (a young local lad who plays everywhere he can – he has an amazing work ethic and voice, he will go far) to the femme punk catchy-bastard sounds of ‘Hooker’, the excellent and raucous ‘Fist City’ (with their army of tiny supporters), the prog-folk Strauss & Strauss ( I think I just invented that genre?), and of course, my band Gravity Dave. Not to mention the excellent Gasoline Thrills, The Downloads, Vertigo Fish, Health Junkies and all the other brilliant bands that dominated the day with new, live and original music.

In a Kevin Costner moment, Steve & Simon told me, “If you build it, they will come”, which has been their philosophy from the outset and is now paying dividends. All I could see was happy faces, all I could hear was new and exciting music, and they had a good few titanic real-ales on to boot, which is always a good thing. So well done one and all. It can be done and it has been.

It makes sense because in Leek there seems to be a disproportionate amount of bands and artists for the size of the place, and thankfully, a similarly disproportionate number of pubs, several of which are capable of hosting live music. However, the scourge of cover bands tends to make up the larger part of local music, and there is a whole section of Leek (the Market place) which at night is turned over to a weird kind of mini city-centre bar/club life, inhabited by many fighty and shouty people, shepherded and watched over by the best part of the moorlands police force each Friday and Saturday night. I should add here, that the ‘Foxlowe’ used to be one such venue under the guise ‘The V Bar’ – which was noted for its sticky carpets, crap music and fighting. Since then, it has been bought by a community group who have turned it into the most excellent arts centre, cafe and venue, demonstrating that it can be done, communities can reclaim their culture from the lowest common denominator. Which is why it needs the rest of us (I would argue, the vast majority of) none shouty-fighty people to organise and attend nights like this. Unfortunately, venues are being lost and Leek suffers from a lack of transport links and accommodation to open it up as a regular night-spot for live music lovers. Some of the accommodation may soon be answered by the development of  a Premier Inn, unfortunately at the loss of yet another old, vast and interesting building (The Talbot), but at least it could make Leek a weekend destination, and if it does, I think live music should be at the forefront of its tourism trade, along with its excellent artisan and independent shops, markets and real ale pubs. There is even talk of the train lines re-opening, linking it to Stoke station, and therefore the rest of the country, which economically would put Leek back on the map. Fingers crossed the council don’t  mess it up.

I’ve also had the pleasure of being involved in an annual music-festival in Leek, ‘Leek Summer Jam’ which has ran for four years and played host to thousands of guests, hundreds of acts and generated income for dozens of local businesses. We’re having a year off this year while we decide what to do next, but it makes me breathe easy knowing that that there are guys like ‘The Situation’ still keeping the flag flying for live music and arts in Leek, and the country – many of the bands playing on Sunday were from all over the country, including Manchester and London, so as the words gets out, the ethos of Leek’s love for live music should spread across the UK, and who knows, maybe the world! (well there was that Canadian band… and an Irish chap…)

So I’ll sign off now after having the pleasure of writing a positive article about something well conceived, well executed, and of real value to the culture of Staffordshire and the country in general.

Links:

The Situation FB Page. You should find all the info you need about the bands mentioned and links:

https://www.facebook.com/pages/The-Situation/113561162062815

The Foxlowe website:

http://www.foxloweartscentre.org.uk/

Leek arts festival website (ongoing throughout May – but this kind of event would have happened either way, still, check out what’s on):

http://leekartsfestival.co.uk/

And of course, my band’s website:

www.facebook.com/gravitydave

All the acts:

Image

A gig at a leisure centre? Okay then…

So I sing and play guitar in an originals band called ‘Gravity Dave’ (www.facebook.com/gravitydave). We’ve been going in one form or another for a year and a half now, and all of us played in various bands for many years before.

We work hard every Thursday night rehearsing and writing new material. We pay the practice room fee out of our own pockets and of course, all our equipment costs and maintenance and occasionally recording costs and such like. I’m sure you’ve heard all this before if you know anyone in a band, but live ‘band’ music really is becoming the lesser revered and funded sibling of the arts.

On Friday we played a gig in a leisure centre cafe. That’s right, a leisure centre cafe. As in, there were people filing in and out behind us on their way from/to various sporting activities. The night itself was organised by a local music promotions company and takes place in that venue every last Friday of the month. When we signed up for it, not unusually, the thought that the venue would actually be within diving distance of a swimming pool had not crossed our minds. But when we found out it didn’t matter, because we’ve played plenty of conventional venues without audience anyway, so it could be a turn up for the books, who knows? You see, that’s what it comes down to sometimes, just hoping we stumble across the places where folks still turn out for live bands and original music in Stoke & Staffordshire, wherever that may be.

As it happened, there weren’t really that many folk there. Each of the three acts had a small showing with them, mostly family and friends, and the organisers had mustered a small crowd, but all in all, we’re talking less than 20 I reckon (that includes the acts). I must say at this point that the actual music was great and well received by the few who attended. I didn’t really catch enough of the first act ‘The Carpet Lions’ to say much about them here (they had a flight of the concords thing going on, but it felt a little unformed, but they were only teens and it takes some confidence to try that kind of thing), but I did have the pleasure of catching ‘The John Macleod’ band’s set (www.facebook.com/mrjohnmacleod). As soon as they got on stage I relaxed. It would be one thing to play a gig in a leisure centre with next to no audience and a weird line-up (comedy acoustic acts followed by rock/punk acts?!) but seeing a ‘proper’ group take the stage at least gave me something to hold on to.

They played a great set which moved through prog to folk (which actually makes a lot of sense), with a charismatic front man (John Macleod), a synth/accordion player who was able to create studio-esque backing to the live music (adding buckets of ambience) and a meaty bassist working with the drummer to keep each tune powerful and driving. I’m not a music reviewer, so if you want an idea of how they sounded, half of the set sounded like ‘Cake’ and the rest was more traditional (yet brilliantly realised) rock/folk. I apologise emphatically if any of them read this and totally disagree – the long and short of it was, I thought they were great.

So after watching those guys, it was our turn and we did our thing. It’s not my place to review myself, but we were told by the Macleod guys and our support (and the sound guys) that the set was good and people enjoyed it, which is all we can hope for. The usual groan of “It’s a shame there weren’t many here…” came from all quarters, and after meeting some nice new people, swapping details and vowing to gig together at some point, we went home, happy with a nights work and glad to have made an impression on the few that were there, if nothing else.

I don’t know if there is a moral to all this. It’s hard for me to judge because playing in a band myself means I don’t always feel that obliged to go to other nights when I’m not on the bill. That’s not being egotistical, it’s just because all being well, those nights are all rolled into one and I can play and watch all at the same time. Playing at a leisure centre was weird but it still worked in the end because it’s quite simple – a couple of good acts and an audience in one room makes for a night (plus booze, there must be booze). The one element (at least in this area) that is missing is audience. I know you might scoff and say that’s because we don’t have one of our own, but it’s a catch 22 situation really – if the passing audience isn’t there to pick up new fans, how can you expect to get new fans?

My favourite nights are usually the free ones. This gig was £4 a ticket, and the band could get £1 for each sold. We were given 32 tickets, which even if we had of sold them all, would have been £32 between 4 people. That’s £8 each for a night that started at 6pm with the sound-check and ended past 11pm. That’s not the organisers fault as this isn’t unusual for a night like this, but when you think that we pay around £50 a month for our rehearsal room, that’s not even being covered, let alone our petrol and thousands of pounds worth of equipment costs. And anyway, we didn’t sell the tickets because it was out of our usual area, too expensive and  quite possibly, because it was in a leisure centre and I don’t think people’s brains could quite process that!

It’s a familiar story and I think the reason it happens is because we would do it anyway (most times) paid or not. So why pay for something that you can get for free? Well, because we would get better with more time and resources to develop. Your nights out would get better. The music in the country would get better. The charts would get better. The quality of people’s lives would get better (in cultural terms). The local music industries would be better funded. More money for recording studios, photographers, film makers, merchandise companies, venues, technicians etc… as a real culture of good quality live music is fostered. But hey, cover bands get paid. But cover bands need something to play! One day all the bands will be cover bands and when people finally get bored of the sets, it will be because no-one is left making original music anymore. We will be doomed to listen to bad versions of the Kings of Leon for all eternity. We will be Mustang-Sallyied to death.

So this may seem negative but I don’t mean to be. I know the sentiment was there with the organisers, and I’ve been in that position before as an event organiser myself where the last people you think about paying are the bands because all the other stuff takes so much money and time to put in place. Maybe one of the solutions for bands is merchandise – selling CD’s, downloads, badges, t-shirts and what not (we’re going to give that a go as we play our next few venues), but it is a shame in a way that it comes down to that when you’ve spent months or years coming up with a solid 40 minute set of original songs, played them, been appreciated, but not paid.

And it’s not all bad. We are surprised every now and again and we know that it’s up to us to seek out and play the better venues with the bigger crowds, though that will probably mean playing out of the county. Having experienced Liverpool’s music scene directly on occasion and vicariously through my older brother (who plays in two bands up there*), I know it exists. But then, Liverpool has a legacy, as does Manchester, London and Birmingham. Stoke’s legacy is a bit of a mixed bag, but there are bands in almost every spare room and dilapidated factory unit around here, brimming with enthusiasm and ability, trying to get out. I wish we didn’t have to ‘get out’. I like it here, it’s where I live. I mean, going further afield is cool, but it would be nice for that to be an optional extra, knowing that there are plenty of packed (and paying) venues back home in the meantime.

Well this has turned out to be a long post! I’d be surprised if anyone reads this far. If they do, confound my expectations by leaving a little comment. Even if it is just the world ‘splurge’. I’ll know what you mean by that, it will make me happy.

Finally, my band are quite busy at the moment so check out www.facebook.com/gravitydave for event information. I’m on local radio with them tonight, and I guess that might make it into my next blog anyway.

Ta for now. Splurge.

Garry.

Ps. If anyone from VB Music reads this – Keep it up. I’m talking about the broader world we all find ourselves in. The unusual venue is a bit of a hard one to get your head around, especially with it not being near to a town centre, but the way the night was ran and the feeling among the acts was positive. Tickets prices are probably too high for a lot of people, especially when they also need to travel out by taxi to the venue and such like. Audience’s need incentives (free or cheap entry, easy location) and set up a merch table for the bands with someone to man it if possible. I hope this helps and doesn’t sound arrogant, but you do want to build these nights up I imagine and I reckon these few things would help.

* My bro’s bands – Check them out and all that:

https://www.facebook.com/HillaryandtheDemocrats?fref=ts – Hillary & the Democrats

https://www.facebook.com/goodgriefliverpool?fref=ts – Good Grief!