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What's the point?


Roger2611
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[quote name='BigRedX' timestamp='1473241382' post='3128202']
But you could also repurpose that old golfing cliche about practice and luck to say that for bands the higher your profile the luckier you get. The more you do the more people you get to know and it's much easier to find yourself in the right place at the right time if you are out there gigging and promoting your band as often as possible.

Unfortunately, from my experience what has happened over the last 10 years or so is that the industry has reverted to something similar to it's pre-punk attitude where it was almost impossible to get noticed if your band doesn't have someone with a proven track record in it, combined with the fact that there seems to be a lot less right places and right times these days.

And to go back to your point about the record labels looking at music colleges for new talent; I imagine these days that music college teaches far more than just how to play your instrument and that the importance of image etc. is also on the curriculum. It makes sense for record labels to target artists who already know how to present themselves, rather than to have to go to the expense of hiring stylists and people to teach them how to get the best out of an interview when this has already been covered in the course.
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Yes, I'm a great believer in making your own luck, and also being able to recognise a bit of good luck when it comes along and being willing to take the jump.

Interesting point about music colleges teaching more than music. Would make sense for those aiming for record contracts.

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Guest bassman7755

[quote name='PaulWarning' timestamp='1473148849' post='3127281']
Which in the old days was the record companies job, you got signed, got an advance, got put on tours with established acts and got the record companies publicity machine, oh, for the days of the big nasty record companies, we all thought it was a hoot when the got a bloody nose with the coming of the digital age, the law of unforeseen consequences eh?
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Except than only tiny fraction of those trying to get someone would ever get record company support. The difference between then and now is that the record company used to be the one picking winners and loosers whereas now it more meritocratic with the winners being picked by the end users (via media like youtube). I much prefer how it works now.

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Not sure that's quite right. I bought my first classical LPs in about 1972. I think budget were 49p (I.e. 9/11), mid 75p (15/-) and top 99p (19/11). For context, I know that in 1978 when I was first a barman beer was 23p a pint. I was only 12 in '72 so can't give a direct comparison

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We live in different times now, music and all forms of art are instantly available without putting down your greasy pizza, but I believe there'll be a point when people realise what they've lost, I really hope so.

Play for the love of it, play to an empty room, if there's one person in the room that digs what you do and decides to do something themselves, job done!

Never give up...

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[quote name='Burrito' timestamp='1473003234' post='3125932'] Playing with a 50s rock 'n' roll band this weekend, an audience member came up and said "do you know any Oasis?". It's stuff like this that happens all the time now. Having been around the live scene for the best part of 30 years I can only agree with the general replies here so far. I guess for me it's in my blood and I can't imagine not doing it. My view is I always play to whoever is there and try not to sulk / strop when playing to 6 people who are only half watching. [/quote]

do you know any Oasis? :lol:
i think he must have been taking the pi@@ the !w@. should of dedicated the next 3 in a row, R&R songs to him.

Thats the spirit, im like you, wont ever give in, ;)

keep the faith

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