Da Do Do Do - Da Don't Don't Don'ts !

It's hard out there for bands starting out, so don't make it any harder 

I’ve been an artist, worked for record labels and in artist management. I’ve lectured in Music Business & Professional Practice at Salford University and run Freeflow UK, an initiative to support up and coming artists in the NW of England.  Currently I’m the Northern correspondent for The Hit Sheet magazine, Editor of the Eartwister music blog and DJ whenever I’m paid to.

In the last month my inbox has been littered with requests for reviews, invitations to live shows, and video links that have all too often left me bemused.  Such has been my frustration I thought I’d share a few thoughts on how your musical world looks from the outside-in.

If it’s ok, I’d like to start with the biggest stick in the box. The internet is both a wonderful and dangerous beast, just ask the folks at Wikileaks. In music terms it’s become the indispensable tool for artists and consumers alike, as much part of the fabric as TVs out of hotel windows, huge major label deals and Top of the Pops ever were.

For all artists, the opportunity to communicate directly with their fans, promote their brand and sell their wares has become a truly powerful weapon. With such a weapon at your disposal, the pressure on young bands to pull the trigger is often overwhelming. If you’re not posting, tweeting, updating or adding content it must feel like you’re standing still.  The tendency then, is to rush.

In no particular order, let’s start with You Tube.

When reviewing a new band or artist I always do a You Tube sweep.  You Tube is an area that many new bands manage badly and is often very revealing.  The simple rule is to only post content that you’re happy for everyone to see.  Two examples here should make my point. I know of several bands that play parties and weddings on the side to supplement their income and earn money for studio time, equipment and fuel to gigs etc. Now there is absolutely nothing wrong in that, we all have to earn a coin. The trouble is that some of them trade under the same name when performing in two different guises. Do you really want footage of your drunken rendition of ‘Knock On Wood’ to appear above the latest original you’ve slaved over in your You Tube listings? Keep the two separate, first impressions and all that…..

Likewise, many acts like to record their rehearsals, but posting this footage is a no no. It’s the sort of footage you only give fans access to once they’re hooked, and only then if it shows you in a good light. If I wanted to watch you practise and mess about with a half arsed cover of ‘This Charming Man’ I’d pay to watch you rehearse, I don’t, keep it private. Remember that the competition out there is fierce, it’s a buyers’ market and stats show that press, radio, labels and punters form an opinion in the opening 30 seconds of a You Tube video.

Recordings

Don’t bands make demos anymore??? When I put my reviewers hat on it has two distinct settings. Demos: When bands send in demos I understand that this is work in progress, they are getting ideas down and the recordings may lack gloss. The chances are they were done on a tight budget or even a home studio and almost certainly un-mastered. That’s not a problem, it gives us an idea of what the band are about and we know there is more to come. It’s actually exciting to get demos. You know you’ve caught a band on the ground floor and it’s great to watch them progress.

Singles & EPs

As I’ve alluded to, it seems these days the moment a band leaves their first studio session they stamp a label on the recording announcing it as a single release. 

Once I hear the words single, EP or album I’m automatically expecting the finished article and the quality that’s associated with an official release. So, when recordings lack the quality you’d expect in a finished article you’re often left disappointed.  Only when a band believes they’ve achieved the best they can with a song/recording would I release it as a fully-fledged single. I've talked to countless acts a year after releasing their first recording as a single who say, “I don’t know what were we thinking, we’re a completely different band now”  You can release and sell Demos on iTunes as well you know, there’s no shame in it.  

Blueprint Studios have hosted the likes of: Elbow, Justin Timberlake, Smokey Robinson, REM and many many more. A few basics from this illustrious establishment.` 

'Work out a budget of how much money you have to spend. This way we’ll be able to advise you on how many tracks you will realistically be able to complete to a high quality standard. It is better to record fewer tracks to a high quality than to rush through loads in a small amount of time.

Make sure you are ready and all your material is written and arranged. Don’t waste valuable time and money in the studio on things that can be done at home or in the rehearsal room. This point can’t be stressed enough.

Remember, we are not here to A&R your material but to record/produce it to the highest standard possible. However, we are more than willing to share our expertise if you request it.  Knowing what you plan for the recordings is always a help; demos, obtaining gigs or a single release etc.  If you’re inexperienced in a studio setting don’t over-stretch yourselves, the learning curve is half the fun and all bands get better with time.

If you’re working with a either an in-house producer or someone you’re bringing in, discuss production ideas ahead of the session. If possible pass on a rough demo of the songs or arrange for him/her to see you live at a gig or in the rehearsal room. It can also be useful to hand over reference CDs that serve as a good example of production styles you are trying to achieve.'

For more tips or to make a booking visit  www.blueprint-studios.com

Gigs

When you’re starting out no one wants to waste good money (particularly in the present climate) watching you practise. Get it right in the rehearsal room first. When you think you’re there, try putting on a small invite-only show, not only for friends and family but try inviting a couple of local promoters along too. Friends and family will find it difficult to do anything other than blow smoke up your arse. A local promoter or similar will tell you if you’re ready to head out on the circuit and probably give you some practical advice on where to start. It’s in their interests after all to put on good bands, and from your point of view it can be very disheartening stepping on stage before you’re ready.

Ben Taylor – Events Manager at Sound Control - soundcontrolmanchester.co.uk
On approaching promoters:

I've been on both sides, as a band and a promoter. It’s always tough, but to try not to ram quotes and blurb down the promoter’s throat.

My advice would be to get 1 or 2 recordings down, ideally on Soundcloud or something easily accessible for promoters. Keep your email fairly brief, explaining genre and any sort of promotional tools in your armoury. Most importantly, try and build a relationship with venues/promoters.

Gorilla marketing, teasers via a Facebook/twitter page; make it as interesting and exciting as you can for your fanbase, leave people wanting more.

Looking to get a review?

If you’re looking to get some press there are some pretty easy dos and don’ts. Firstly, (and I know it sounds simple) read the blog, website or publication you are approaching and like their Facebook page. There is little point in sending your hard-core electro meets Gabba with bagpipes to your local indie blogger. At best you’ll have wasted your time, at worst you could end up with a review that concludes with the words ‘Shit sandwich’.  Research the people you’re approaching, they’re certain to do the same with your band. If you’re a complete unknown try the personal touch rather than a mass generic email, (find out the reviewer's name for example) it’s likely to make you stand out from the crowd if you make the effort.

If you’re submitting tracks make sure there is a link to a stream (Soundcloud etc).  If a reviewer

requires a download or hard copy they are sure to ask for it. Having thousands of downloads in your inbox makes for a royal pain.

Supply accurate and relevant information. I recently completed a review that stated the band had been together for a year and had only 10 gigs under their belts and this was their debut recording. The band in question contacted me post publication to say they’d been together 3 years and this was their 4^th recording. The info on their Facebook and other social media pages begged to differ. So, check the info on all your online outlets and keep it up to date. Better still; include the right information with your submission in the first place.

If you’ve not heard anything or seen your review published then it’s fine to send a follow up email, perhaps even two, but don’t go crazy. Stalking a reviewer is unlikely to help. They probably just don’t like your music and it’s time to move on. With luck, they’ll come around in time and you’ll have the last laugh, until then avoid badgering, it reeks of desperation.

Lastly, if you’re going to submit your hard work for review it’s wise to develop the skin of a rhino. If we all loved the same music the world would be a pretty dull place, but that does mean a glowing review is not guaranteed. There’s nearly always a line that if taken out of context you can use to your advantage. Other than that, stay positive and move on.

There is loads of advice out there for bands to get the most out of social media; the use of instagram live at gigs is a personal favourite of mine, particularly snaps of your audience from the stage.  For now however I think I’ll leave it there, the backlog of tracks I have to listen to is getting bigger by the minute. I’ll leave you with this; be as good as you can be, pay attention to the detail and don’t rush.

You can Follow Simon Ashby on twitter @SimonAshby1

Here at Eartwister we are subject to the trials and tribulations of everyday life like everyone else. Unfortunately that means through family illness, work pressures (day job) and a whole host of other reasons, we have been rather remiss in bringing you the normal Eartwister service. So consider this a sincere apology from all at Twister Towers.

Now that’s out of the way, what’s coming up this summer? Well, they’ll be plenty of the usual reviews, new music, live and recorded, plus plenty of feedback from this summer’s festivals both large and small.

On top of that, they’ll be more interviews heading your way and a chance for one bright young thing to become part of the Eartwister family. So, if you fancy writing for Eartwister then do get in touch and let us know what you can do.

On a slightly sour note, I have to say that I witnessed my first ever tribute act on Saturday night and my reaction was not what I'd expected. Having enjoyed the support acts I'd come to watch (playing their own stuff to clarify), I thought I'd hang around to catch a couple of songs from The Smiths Ltd. I mean what's the harm? I love The Smiths, it's only a bit of fun, I've seen the originals, this will just be a giggle. How wrong I was. In truth it was a truly creepy experience and not one I wish to repeat, I urge you not to make a similar mistake. I only managed to stay for three painful songs before making for the exit. 24 hours later, and I'm still being haunted by images of Johnny Marr's wig. 

X Factor - The Ultimate Dumbing Down for a Lazy Nation?

So it’s over for another year, and in your millions you voted to make Little Mix X Factor champions 2011. In doing so you saddled us with another insipid act that you’ll now refuse to back by spending 79 whole new pence on a download. That’s right folks; all those millions of votes should transfer into around 300,000 sales of the winners’ single if the girls are lucky. These will of course slowly ebb away as time goes by and routine sets in. Soon enough you’ll once again be distracted by ‘Celebrity in a Jungle Big Brother from Essex Made in Chelsea Fat Gypsy Strictly Dine with Me on Ice Road Truckers’ you sad.........

Meanwhile the little devil on Damien Rice’s right shoulder is rubbing his hands together at the thought of all that PRS loot, whilst the little angel on his left is praying for an early grave so he can turn in it after hearing what a dog’s dinner they’ve made of his work

Speaking of the devil, the incarnate one has already recruited Richard ‘Biff’ Standard (writer of ‘Wannabe’) to work with the group, fueling the already lightning spreading ‘Girl Power 2’ fire. Of course Gary Barlow won’t be far away either, simply because he can’t help himself, bless him.

The only upside is that doctors are expecting a brief burst of activity from obese children, as they pry themselves away from being force fed the factor brand, vibrating joysticks, their mobile phones and facebook, just long enough to learn a dance step or two. That should equal 27 less diabetic 11 year olds in 2012 with any luck.

Thousands upon thousands of new and old acts, and millions and millions of songs exist out there, and still you’re happy to take the Factor juggernaut up the arse like a giant suppository that keeps you sedated, rather than risk discovering something for yourself. Surely that’s just a little uncomfortable? Look, all you have to do is stop tweeting that you’re just about to have a cup of tea and put your feet up for the night and Google search new music, you may just find something you love.

I wouldn’t mind betting that the most new music your average X Factor fan has experienced in recent memory was tuning in to the Beeb for the ‘Children In Need’ Rocks concert’, and I bet you weren’t expecting that were you? You see, take away choice and the end result is out of your hands. There you were expecting such an array of big stars to roll out the hits for the nation’s less well-off children, and what did you get? Act after act essentially and shamelessly plugging their new records. Only Elbow, Coldplay and GB himself dipped into the back catalogue to please the punters. The final insult being Michael Buble bashing out Christmas tunes for a charity gig in mid November. Buble has since replaced James Blunt (think cockney rhyming slang) as the ultimate swear word in my house, and no, I don’t care what a nice bloke he’s said to be.

Pop music of all kinds is something we do fantastically well in this country, so please please stop dumbing it down. So there you have it. Discover something new, discover something you love, and when you do, let me know about it.

Is The World Full Of Crashing Bores?

I have some inane pop channel on the TV as I give the house a much needed tidy. The name of the channel is of little relevance as there is little to choose between any of them. The point however, is that I’m bored before I’ve finished dusting the fish tank, and it’s a very small fish tank. My mind is numb with the puerile drivel spouting from those luscious red lips, only to be followed by an insipid mandate to ‘Put my hands up’  from underneath a  Donatello haircut (and before anyone asks, no, not the f*%king Ninja Turtle).

I grab the first Cd to hand from the countless that line the walls and turn the volume up. The album is Morrissey’s ‘You Are the Quarry’. It’s not long before It has me wondering, who is carrying the torch for great lyric writing today? With the physical format certain to go to its final resting place in the not too distant future, how much does the written word matter to this generation of music fans.

Gone are my salad days of playing truant from school just to be first in line to purchase and pour over the sleeve notes of the Jam’s ‘All Mod Cons’ or the latest offering from The Clash. I remember how I first felt when tracing with sticky fingers under the lyrics of ‘Down in a Tube Station at Midnight’ or wondering if the girl next door had really done’ Too Much Too Young’. In later years The Smiths, Kate Bush, Jarvis cocker’s wit and the fun had deciphering Mr Stipe was always a joy. And all of this before I’d really discovered the likes of Dylan, Patti Smith, Joni Mitchell and Cohen.  Hip Hop aside (a can of worms too far for this man), it was a breath of fresh air when Alex Turner’s view of the world made it to my speakers and Guy Garvey and the boys finally got the recognition they deserved, as he too can paint vivid pictures with his words.

But what about POP music? I know it’s for the young, for lovers and dancers, and I know plenty see it as a disposable medium. But does it really have to be devoid of any worthwhile content or unique rendering even of common sentiment. Don’t song writers have a duty to deliver better? At the very least can’t writers make better use of the beauty and wit that lay within the English language, after all, words can be such delightful and exquisite things.

Is it a failing in our education system? Or on the other side of the same coin, are artists, A&R and marketing men alike, scared of alienating what they believe to be a stupid audience, and thus are happy to wallow in the lowest common denominator? Is Mozza right as he spits from my speakers;

“it’s just more lock jawed pop stars
Thicker than pig shit, Nothing to convey
They're so scared to show intelligence
It might smear their lovely career

This world I’m afraid is designed for crashing bores”. 

Meanwhile, Lady Gaga, who’s doing her best to become bigger than Coca Cola and McDonald’s combined has had her ‘Born This way’  album banned in the Lebanon over lyrics deemed to be offensive to Christianity. In particular, the song Judas seems to have got the Lebanese officials hot under the collar.


“I'm just a Holy Fool, oh baby, it's so cruel
But I'm still in love with Judas, baby!
I'm just a Holy Fool, oh baby, it's so cruel
But I'm still in love with Judas, baby!”

#*@% me! I would have banned it, but perhaps not for quite the same reasons. Ok, so I’m joking, there are far worse offenders than Gaga, but surely it makes a point. Of course there are plenty of songs which have stood the test of time with poor lyrics but they must trade solely on an exceptional melody, for those who are truly intent on leaving a legacy will have to deliver on both counts. Just ask yourself how many Cole Porter or George and Ira Gershwin songs you can sing along to.

So is the art of writing great lyrics on its last legs, well, probably not, but it certainly seems to be in need of a shot to the arm or a few vitamins.  Even the new crop of stylish indie darling wannabes (who historically have had much to say) seem to be dumbing down these days. Is it just a Sign of the Times? Perhaps I should have feared the worst when NME readers voted Muse’s Matt Bellamy fourth best lyricist of all time in a poll last year. Matt Bellamy? Really! Is that what I can hear in between guitar noodles and synth runs?  

Of course if things get really bad you can always take the DIY approach by making up your own lyrics, particularly when audibility of the car stereo is not quite what it could be. For at least a week after release I was sure Paul Weller was singing ‘the Flo-bo sucks’ rather than ‘the floorboards up’. And there is simply no convincing my lovely wife that The Drums are not singing ‘Lemon, I wanna go surfing’ to this day.

So as a simple last request I will ask only this. If you are involved in making music in any way, whether as an artists, writer, producer, or even if you work for a label (in fact definitely if you work for a label), please encourage the art of writing great lyrics. Trust me; it will be well worth the wait.