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If people heard my songs, they'd cry, and commit suicide, and that's the happy songs. |
Dave Martin wrote on Wed, 25 January 2006 18:21 |
Here's another question... it seems to me that the heart and soul of being a musical artist is live performance. If you're sitting in your room writing and recording, there's no way to know whether your material actually moves other people. If you're out in front of them, you know right away. And there's another issue - in most cases, I believe that music is a conversation between musicians; if you're sitting at home (ESPECIALLY if you play all the parts yourself), an appropriate analogy is that you're talking to yourself, not to other people. This is not generally to be considered a good thing. |
Hellapeno wrote on Thu, 26 January 2006 18:40 |
I shifted from performing to producing fifteen years ago but now that some of my recents songs have gotten favorable feedback, I'm being taunted into performing again and may start doing so in the spring. I was a relatively young man (35) when I "retired" from performing and just turned 50 this week, so I'm sure it will be a different experience, what with all the groupies calling me "Geezer" and "Gramps" instead of "Sweet Cheeks" and "Studmuffin." |
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What I get out of the recording: It's like looking for the Holy Grail to try to capture what I hear in my head on a CD. The process is really interesting. I always liked tinkering with 4-track cassettes, a Dokorder 4 track reel to reel before that, a "sound on sound" pioneer reel to reel and the machine that started it all, my grandfather's mono Wollensak tube reel to reel. I gave up drugs and drinking and now the food is catching up with me....... I have to be addicted to SOMETHING! |
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Endless rehearsals, humping a rack of keyboard modules & a 75 lb controller keyboard, plus stands and amps and shit, into and out of the car, the truck, the van, up and down stairs, multiple stairs, icey stairs in winter, playing a gig at a smokey, dingy, smelly local bar (if you're lucky-otherwise you're on the road to who knows where), with nowhere to escape the D.J., who is louder than the band, and of course almost invariably a greasy jack-ass for an owner, who you may have to choke for the money, schlepping home at 3 or 4 am, then re-humping the gear into the house, over & over again for...how much money ? (if you calculated how much you made per hour you'd probably want to jump off a bridge or something) Yeah, I miss it. (Did I mention the stairs ?) |
Fibes wrote on Fri, 27 January 2006 09:11 |
Most bands that carry B3s and leslies have hernias. |
DivideByZero wrote on Sat, 28 January 2006 16:49 |
ROFLMAO Dave. A C3 is a B3 with a built in anchor. M |
Gary Flanigan wrote on Mon, 30 January 2006 14:26 |
and there is no money in playing live unless you are famous. |
Greg Youngman wrote on Mon, 30 January 2006 18:24 | ||
Isn't that the truth. I have much more fun and profit in the studio. That stage attention can do some weird things to people. |
Dave Martin wrote on Fri, 27 January 2006 10:33 | ||
We were in worse shape than that - back in the day, the organist in the band had a C3. And we didn't know anything about dollies; all the guys inthe band would just grab hold of part of the Hammond. And run towards the stage with it... it WAS silly, and yes, the wheel HAD been invented by then. |
Dave Martin wrote on Sun, 05 February 2006 10:21 |
................. I have no intention of growing up and acting like an adult - there's no fun in that. I'd rather be Dennis the Menace than Mister Wilson. |