#Songwriters

18 Jul 2013
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Promoters Need to Promote More…. WTF?

One of the great lies I hear from bands that haven’t made in the music business is that promoters don’t promote enough for their shows. Really? A PROMOTER whom by title and definitions job it is to promote isn’t promoting enough? I call a serious BS to this excuse that musicians use to not be accountable for their poor numbers. I have yet to meet either as a musician or a business person a promoter that didn’t promote. We are talking 30 years of playing or working in the business and I have never seen this. Even the small promoters work their fingers to the bone, pay the bands with what little came in and always go home with nothing while the bands bitch and complain and pretty much did no promotion what so ever.

It is my contention that most musicians don’t know what promotion truly is and wouldn’t recognize it if they saw it and they have no idea what is going on in the background. Is this harsh? Yes, but it is my experience dealing with musicians.

So let’s get this out of the way early. Yes, there are exceptions where maybe a promoter is new or doesn’t know what they are doing or maybe doesn’t have a budget but this is not what you normally deal with. Even still people who are promoting an event are usually very excited about their event and will promote it the hilt to the best of their ability which I can not say about musicians. Yes there are a few musicians out there that get it, but the majority don’t and they make excuses as to why they there are no people at their shows.

First and foremost, promoters are not in the business of losing money. Promoters are in the business of making money. They aren’t into taking chances and throwing away hard earned dollars by throwing an event and not promoting it. That is just plain stupid and not even close to reality. If you as a musician have met a promoter that is into throwing money away and you worked with them, then that is your fault for making a bad business decision. Hopefully you have learned form it and know what questions to ask next time.

As far as promoters taking advantage of local bands again a load of BS. If you are a local band, and you were lucky enough to get a spot on an event that has money behind it, you are already getting more than you are worth in advertising and promotion alone. It builds your brand, your credibility and if you actually drew in the minimum of 30 paid tickets you should be drawing in, then you will be remembered and brought in again and again as long as your work your butt off and keep brining in numbers. This does lead to getting paid and much better opportunities for you. If you are a local band opening for a A level or B level band, you are getting paid by getting in front of the audience that paid to see the headliner not you. This is a crowd that would never normally come see you. Understand the opportunity that it is, the opportunity you couldn’t normally afford to pay for yourself and make the most of it.

I can’t tell you how many times I stood in front of Bridgestone arena during a big concert by myself handing out promo cards while not one of the band members helped or how many times I was out ever day hanging posters and no help from the bands. 3 times I had a tiny bit of help hanging posters from 1 musician who did one small area of town with me and 2 others where a model and a friend helped me to 2 square blocks. Everything else was me every day hanging posters and hitting a previous area again every third day. The bands always had an excuse as to why they couldn’t help.

Promoters have their events listed on all the known event websites. They get their events in all the local entertainment rags. They set up radio interviews and advertising. They do email blasts over and over again. They have social media accounts that they promote on. They hang posters all over town over and over again because posters are always pulled down. This more promotion per event then most bands will do in a year for themselves let alone for just one event. What do musicians do? Maybe a couple Facebook posts or tweets and call that promotion.

In a perfect world, each event will be promoted to the hilt by the promoter, venue and bands. Will this happen? Maybe, maybe not. The reality is this. Each musician or band is responsible for their success and the success of each event no matter what anyone else does. You can never rely on someone else’s promotion for your business. YOU have to kill it each and every time. YOU cannot let excuses creep into your thought process. People pay to see bands that are good, the pay to see an experience. If they aren’t paying to see you, it’s not because of a lack of promotion by the venue or promoter. It’s because you aren’t giving them what they want yet. They don’t see anything worth paying for. YOU as a band have to learn how to separate people from their money. YOU have to learn how the become the EVENT that makes them put other things off and come see you instead of a movie or handing with friends.

As a promoter we have to do the same thing however, promoters learn quickly usually and bands seem to languish in poor work ethic and lack of creativity.

Bottom line is this. YOU have to toot your own horn and not expect anyone else to. YOU have to learn the skills to make this happen. YOU have to have a band that is dedicated to putting together a strategy to promote effectively. This means everyone in the band has to participate and quit using the “that just isn’t my thing” excuse. If you are in a band and you find that you don’t have the drive or the time to make this happen, then it is time re-evaluate your business and maybe step aside or just be comfortable with being a local band. There is nothing wrong with that. Getting up and playing music for any number of people is it’s own reward.

The music business isn’t the same as it was 20 years ago. There is very little money it, especially for bands that haven’t made it. Musicians wanted control of their careers so they could make more money and not get screwed. Well guess what, you got it. Now it is all your responsibility. The real work, the hard work is now up to you and you live and die by the sword.

Now you know why, bands had contracts that paid other people so much. They were the ones making you successful. They did all the hard work, the grunt work. They were the ones taking the risk and fronting the money so you could be a rock star.

Time to make a decision. Either you want it and will do everything as a unit possible to make it or you won’t, but quit blaming others for what you are not willing to do for yourself.

To all the bands that are doing it, keep it up! Never give up! Take the reigns of your business and do your best to dictate your success!

Good luck!

11 Jul 2013
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Why Aren’t People Coming to Your Shows?

The entertainment business is incredibly tough to be in. We all think we are amazing talents and think we should be paid for all of our hard work and what it takes to put on a show of any kind but that isn’t the reality. The reality is it’s hard to separate people from their hard earned income and with all the entertainment being thrown at them from every angle now days, it’s very hard to capture their attention.

This is why is so incredibly critical that word of mouth spreads about your show the entice people to your future shows. It almost always takes lots and lots of shows before you start to see the crowds you want but there is a strategy to doing it and most importantly, it has to be an experience they will remember and always talk about.

The other day, Dana White of the promotions company UFC came out and said “If you want to get paid, you don’t want people doing the wave during your fight.You want them talking about you on Monday and Tuesday and that isn’t going to happen if they aren’t paying attention to your fight” (paraphrased.) This is completely true of any form of entertainment. If you can’t get people to talk about how completely amazing your show or performance was, you are not giving the audience the experience they are paying for and hence, you don’t deserve to get paid no matter how hard you worked nor should you expect them to. This isn’t an hourly paying gig based on the hours you put in. Lot’s of people work hard (most likely in the wrong areas) but may not be talented enough, visionary enough or a good enough producer to put on the entertainment experience of a life time.

This is the truth. Hard work doesn’t determine getting paid. Buying gear doesn’t determine getting paid. Nothing determines getting paid other than your show putting butts in seats no matter how hard you work or talented you are. This can be a very long and arduous process for any entertainer but it is usually the most common road. Time, effort, talent and an amazing amount of patience are absolutely necessary in the entertainment business. If you aren’t giving the public something that makes them want to part with their money, then you have no one to blame but yourself. You don’t deserve to get paid just for showing up.

Along with talent, planning, intense amounts of practice and the vision to make your dream happen and to also deliver something the public finds value in comes the actual real work that most entertainers don’t want to do and hope others will do for them before they are big enough for anyone to want to. The promotion, booking and business end of things. Somehow the entertainers have to be able to do all of this. It’s obviously very hard and if it was easy, every one would be doing it but they aren’t. However it can be done and there are plenty of examples in the business to prove it. It comes down to will, determination and talent not only to perform but design a show that will provide and experience, not just another so-so show that the public usually gets. They deserve much better than average if they are going to spend money on a ticket plus any other expenses such as drinks, dinner, parking or babysitting etc.

I would estimate that about 95% of what entertainers are putting out there in their performances or shows is completely average or below, yet all I see are entertainers demanding that they should get paid. Paid for what? Mediocrity? I won’t pay you for that. When you send in your material and tell me how amazing you are then that is what I expect. If you aren’t that, if you don’t deliver on your words of your live show, if you don’t put butts in seats or increase your crowd on average over time, then you simply are not as good as you say you are. That is reality. That doesn’t mean give up though. It means you need to re-evaluate your show. Take the time to make adjustments, improve in the areas that need it and learn to put on the show that people wan’t to see. If you don’t, you can’t complain about people not wanting to pay ticket prices. You aren’t providing the value to make it worth the price to them.

You want to sell tickets? Provide the experience that people can’t stop talking about. This means the most well rehearsed, professional dedicated performance you can deliver and it must keep getting better. Until then, you will be mired in mediocrity and low ticket sales and letting the business jade you for your perceived slights. No one owes you a living. In this business, talent, hard work, creativity and vision are all you have. Bring it or go home. Don’t complain about people not coming to your shows when you aren’t giving the very best for them to see.

This is the reality that haunts us all. You and me alike.

Good luck!

04 Apr 2013
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Maragold Has Something Most Bands Don’t.

Maragold

Earlier I was looking at my numbers for this blog and was completely amazed at how well it was doing the last couple days based on one CD review for the band Maragold. Yesterday when I released it it was already doing double it’s average daily but then around 11:00pm CST the band posted it on Facebook and holy crap did it explode. It his had more views by 10 times the amount of any other CD review or musician spotlight I have written. Here is the key, each one posted it pretty much on their personal and band page on Facebook. Most bands don’t do this. They maybe post it once on their band page and not on their personal pages and they interacted with their fans about it. When I released it in the morning two of the band members and the band twitter account RT’d it once and that was it. For further reference on this please read my blog “Creating The “Buzz,” It’s Your Responsibility.”

What does this mean? It means that Maragold has found a way to reach it’s audience like no other band I have reviewed for or spotlighted. It means “true” fans not Facebook likes are extremely excited about them. It means they have actually offered up something the public wants. They did this in spite of having never released a CD and the only member of the band with a real name is was co-founder Greg Howe who is a well known guitar instrumentalist. Well known being relative in the world of music. Yes most guitar players know who he is, but the world doesn’t. Please note that Maragold didn’t ask me for a review. I just did it because when I listened to the CD it was so good I really had no choice.

Everyday on Facebook I see bands complaining about how hard it is or how the industry keeps people down etc… That is complete bunk. Is it hard yes but most bands don’t work hard enough, give the public something they want to buy or shoot themselves in the foot with poor promotion and bad social media skills. Is it anyone else’s fault you can’t make it? No. For whatever reason, Maragold has touched an audience with no prior CD, no real history of gigging, nothing but the past success of guitar player Greg Howe and each other individuals past endeavors. They made it happen without anything other than hard work, determination, incredible talent and most importantly at this stage knowing how to build up a release. Now because of this, hopefully with continued hard work, the songs which are amazing,  will be the deciding factor in their long term success.

This audience interaction is what every band should be striving for, for without it, you have nothing.

Pre-order the Maragold CD here: http://www.maragoldband.com/

02 Apr 2013
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Guitar Great Hangout on Live From Music City with Carl Verheyen, Gretchen Menn, Neil Zazza, Jon Finn, Rob Balducci, Mike Martin and Chris Green

Join guitar virtuosos Carl Verheyen, Gretchen Menn, Neil Zaza, Jon Finn, Rob Balducci, Mike Martin and Chris Green as well talk all things guitar on a Google+ hangout! Covering everything from songwriting, marketing, touring and developing a fan base. Tweet us at @LFMCRadio to ask your questions and listen to some of music’s most prolific instrumentalists tell you how to beat the challenges of the music industry.

Date: TBD – Due to technical issues, this hangout is being rescheduled. Please check back for the new date and time!

Time 7:00pm – 8:30pm CST

Where: THIS PAGE

Carl Verheyen

Carl Verheyen

Carl Verheyen Biography

In his 40-plus years of playing the instrument, Carl has created a wildly successful, multi-faceted career. He is a critically-acclaimed musician, vocalist, songwriter, arranger, producer and educator with 11 CDs and two live DVDs released worldwide. Carl is commonly regarded as a guitar virtuoso capable of playing any style of music with remarkable mastery and conviction. He has been one of LA’s elite “first call” session players for the past 25 years, playing on hundreds of records, movie soundtracks and television shows. Carl has graced the pages of countless industry publications and been the subject of numerous articles chronicling his rise to the forefront of the modern day guitar scene. Carl has won numerous polls and musical honors in the US, Germany, France, Italy and the UK.

A member of the smash hit British rock group Supertramp since 1985, Carl has played to millions of enthusiastic fans in sold out arenas worldwide. As the creative force behind The Carl Verheyen Band, he has released an impressive and eclectic discography that showcases his endless talents across a wide array of musical genres.

A much sought after studio musician, Carl plays on other artists’ CDs whenever his busy schedule permits. He has recorded and played with a virtual who’s who of the music industry. His vast collection of movie soundtrack and television credits are enviable. Carl was heard by 67, 000,000 people as a featured soloist at the 2009 Academy Awards. He will also be heavily featured in the forthcoming film documentary about the electric guitar, Turn It Up!

On the educational front, Carl has produced two instructional videos called Intervallic Rock Guitar and Forward Motion as well as various on-line lessons. He also has a book/CD detailing his unique “intervallic” style called Improvising Without Scales. Another book entitled Studio City is a compilation of all the columns Carl wrote for Guitar Magazine between 1996 and 1999. He has written a monthly column for Chitarre, Italy’s #1 guitar publication as well as Guitar World and Guitar Jam Daily, a website devoted to serious guitarists. He currently writes a monthly column for Guitar Player, contributes to other guitar publications, and blogs regularly for GuitarPlayer.com and his own site. Carl also lectures and teaches at clinics regularly when not on the road.

Carl recently co-designed a signature guitar with LsL Instruments, the “CV Special,” combining the best elements Carl seeks in his ideal guitar; they are now available for purchase worldwide. As if that weren’t enough, working closely with Dean Markley, Carl developed a line of signature strings for the electric guitar that perfectly balance the tremolo bridge of the Fender Stratocaster, the Carl Verheyen Balanced Bridge Helix HD string set . Also working with Dean Markley, Carl helped develop a top-of-the-line guitar lubrication, Tuba Luba, in addition to his numerous existing endorsements.

Gretchen Menn

Gretchen Menn

Photo by: Max Crace

Gretchen Menn Bio

Rapidly gaining praise in the world of instrumental rock and beyond, Gretchen Menn isn’t your average guitar hero on the rise. She once flew regional jets to support her six-string habit. She has studied, in equal parts, the music of Mozart, Beethoven, Steve Morse, Frank Zappa, and Jimmy Page. (Regarding the latter composer, she performs the music of Led Zeppelin professionally all over the U.S. with Zepparella.) Perhaps Michael Molenda, Guitar Player Magazine’s editor-in-chief, described Gretchen’s solo music best when he said that she “seeks the unknown by blending disparate jazz, prog, and world-music influences into a tasty, guitaristic thrill ride.” Her first solo album, Hale Souls, released in July of 2011, is an instrumental album of original compositions that range from aggressive to celestial.

Apart from demolishing her mother’s violin with Pete Townshend-like vehemence at age three, Gretchen’s passion for all things guitar didn’t fully surface until her early teenage years. It was under the tutelage of classical guitarist Phillip de Fremery, a student of Andrés Segovia, that Gretchen began her path on the instrument. Her father, noted writer and former editor-in-chief of Guitar Player Magazine, Don Menn, was quick to point her in the direction of the greats as soon as she expressed interest in guitar.

While earning a degree in music at Smith College, Gretchen’s adventurous approach to her education would foreshadow her approach to the guitar. She convinced a professor to allow her to launch a special studies project on the intricate and unclassifiable music of Frank Zappa. Her analyses of “The Sheik Yerbouti Tango” and “The Girl in the Magnesium Dress” showed a love for epic, melodic, genre-shattering rock and roll composition that would manifest later in her original instrumentals.

After college, Gretchen began heavily incorporating her love of rock guitar into her daily regime, the only hitch being that the music of her rock gods, Steve Morse, Eric Johnson, and Frank Zappa, wasn’t exactly Guitar 101. She also began considering her career path, and how she might prevent a situation she sought to avoid: tainting her love of music with the necessity of paying rent.

The solution? She went directly from college to flight school, and two years later was flying regional jets for the airlines. Yet Gretchen was never without her guitar.

After a year in the jet, with the life of an airline pilot being more than a little incompatible with a career in music, Gretchen relinquished her position with the airlines, knowing that there was a pilot out there somewhere who would appreciate the opportunity. She decided to take a more direct approach to realizing her musical dreams.

Playing with tireless passion and constantly seeking out new challenges, Gretchen’s projects have spanned the genres of jazz, funk, rock, progressive, and metal. In 2003, she donned a schoolboy uniform and joined AC/DShe as “Agnes Young.” In 2005, she joined forces with drummer, Clementine, to form Zepparella, currently with singer Noelle Doughty and bassist Angeline Saris. In 2007, Gretchen formed Sticks and Stones, the high-energy, instrumental “bassless power trio” with guitarist Mickael Tremel and drummer Sam Adato. In 2010, she played in Lapdance Armageddon, an aggressive acoustic duo with Jude Gold. In 2011 she wrote, produced, and recorded her first solo album, Hale Souls, which features bassist Stu Hamm, drummer John Mader, violinist Emily Palen, and guest artists Angeline Saris (bass on “Scrap Metal”), Jude Gold (second acoustic guitar on “Fast Crowd”), and Gretchen’s sister, Kirsten Menn (soprano on “Fading.”) Gretchen’s solo project, a trio with Angeline Saris on bass and Thomas Perry on drums, played their first shows in November of 2011, and will be starting to tour more in 2012.

Neil Zaza

Neil Zaza

Neil Zaza Biography

His guitar playing has defined modern day instrumental guitar the world over. His melodic compositions have not only changed the way musicians play, but what audiences demand out of their guitar heroes. To see Ohio native Neil Zaza’s influential impact on guitar across the globe, merely tune into the legion of thousands of fanatical fans performing his international hit, “I’m Alright” on YouTube. Neil’s trademark “singing” and lyrical guitar style is easily recognizable and can only belong to one man: Neil Zaza.

“It’s always been about the song for me,” states Neil. “I remember all the tunes that really moved me when I was growing up and it wasn’t about the guitarist playing 128th notes. It was about an inexplicable connection I felt drawing me to wear out my records as I couldn’t get enough of that rush of the song itself! That’s what I try and do with my music today. It’s always about the song!”

Neil Zaza worldwide touring has cemented him as a true guitar phenomenon. He’s played alongside and shared the stage with such guitar luminaries as Joe Satriani, Steve Vai, Yngwie Malmsteen, and Nuno Bettencourt. His recordings feature collaborations with Van Halen’s Michael Anthony, Dream Theater’s Jordan Rudess, drumming legend Steve Smith, Peter Frampton among others.

Neil Zaza’s mastery of the guitar amasses accolades from all sources. While he continues to transform the world of instrumental rock music one melody at a time, it’s his fiery interpretations of holiday repertoire fused with Classical melodies and classic Rock that is the basis for his One Silent Night… concert series. Neil, his band, and an orchestra/choir aren’t just performing holiday music with One Silent Night…-they are literally reinventing it!

Now, with his latest release entitled 212, Neil has set the melodic bar even higher with a project taking his melodic stylings to even greater heights. 212 boasts songs that put composition and melody on par with his stunning guitar prowess. The combination is deadly and sure to set the watermark for how expressive and emotive a guitarist can be.

This unique voice continues to evolve…

Jon Finn - Scream (small)

Jon Finn

Jon Finn Biography

A guitarist since age six, Jon Finn has been a professional musician for most of his life. Joining the guitar faculty at Berklee College of Music in Boston in 1988, he started the Jon Finn Group later that same year. To date, they have released three CDs internationally:

For over three years, Jon wrote a monthly instructional feature for a national magazine called Guitar. Jon has also authored several books for Mel Bay Publications:

In his freelance pursuits, he’s played guitar for the national touring companies of many contemporary musical theater productions such as Rent, Aida, Mamma Mia, Grease, Joseph and the Amazing Technicolor Dreamcoat, Copacabana, and many others. Today Jon frequently performs and records with the Boston Pops Orchestra, and has been involved in a plethora of concerts and recording sessions, including 6 CDs (two of which were Grammy nominated), 8 US concert tours, and one tour in Asia.

Rob Balducci

Rob Balducci

Rob Balducci Bio

A native of New York, Rob Balducci has defined himself as a guitarist, musician, composer and one of the most sought after instructors in New York. Balducci’s music is drenched in layers of sonic colors, each representing a tangible emotion, desire, depth, feeling, thought and mood. Rob said “There’s this cliche that instrumental guitar music has gotten to be too much of a vehicle for soloing and showing off technique. That’s completely the opposite of what I’m trying to do. My music is really like vocal songs with the guitar as the vocals.” Guitar World said after hearing Balducci’s debut CD “ Hum-able Shred! What a concept.”

“ Rob is an excellent guitarist… I’ve always had his CDs around and I am waiting for him to become the next big guitar player ” – Joe Satriani “

Rob is a great player and is as dedicated to his work as one can get and it shows in the construction of his audio emotions”- Steve Vai

Having played guitar for the past 24 years, Rob spent years dedicated to mastering his instrument. These well-spent years of woodshedding, and perfecting his technique would pay off handsomely. In 1990, Balducci would go on to win a local contest sponsored by Guitar For The Practicing Musician proclaiming him as New York’s best guitarist. Balducci also furthered his six-string education, earning a degree in music performance and theory from Five Towns College. Balducci’s debut CD, 1995’s BALANCE distributed through Sony Music reaped unanimous praise from press and guitar enthusiasts alike heralding this promising new talent.

After his debut CD Balance, Rob worked on new material and starting shopping his music to record companies. The new CD was sent to Steve Vai in hopes of Steve wanting to release it on his new record label Favored Nations Entertainment. “Favored Nations was created with the intent of bringing music that’s energetic and emotional, with performances by artists of the highest caliber. The artists signed to Favored Nations are a unique, dedicated breed that have attained the highest performance level on their chosen instruments – Steve Vai “ Vai signed Balducci to Favored Nations and released Mantra and The Color Of Light CDs worldwide. Balducci’s newest 2009 Favored Nations CD is titled Violet Horizon and features 15 new tracks of his best work to date with special guest appearances by Guthrie Govan and Dave Weiner.

2009 has been a busy year, not only has Balducci recorded Violet Horizon he also collaborated with Bassist Randy Coven and drummer John Macaluso on a new CD that will be coming out on BHP/NuGroove records. The CD features songs written by Randy, Rob and John and is produced by Emmy Award winning producer Brian Tarquin. Joining Rob on this CD is fellow guitar players Steve Vai, Leslie West and many more….

Rob is currently working on his debut instructional DVD which will be released through The Rock House Method company. His stellar guitar stylings can also be heard on “Rewired: A Tribute To Jeff Beck,” “Crushing Days: A Tribute To Joe Satriani” and a salute to Carlos Santana. Rob Balducci has the pleasure of working with and endorsing Ibanez Guitars, Cornford Amps, Intellitouch tuners, D’Addario Strings, Dimarzio Pick-ups, George L’s cables, Morley pedals, Keeley Pedals, Xotic pedals, Dunlop, Maxon and performs clinics around the world in support of these companies.

The musical community has also taken notice of this guitar giant, with scores of global publications loudly singing his praises (most notably Guitarist UK, Guitar World, Young Guitar, and Burn). What remains constant about Rob Balducci is his intoxicating cinematic scope of sounds, skin-tight arrangements and extraordinary six-string dexterity. Music is a highly personal experience for each and every listener, a uniquely exotic adventure conjuring up a kaleidoscope of different emotions and feelings. Like a master snake charmer, Balducci’s music seduces, inspires, challenges, and ultimately takes you onto a new dimension of light and shade and into the ” Violet Horizon

Mike Martin

Mike Martin

Mike Martin Biography

Mike “2 of 5” Martin began his life on stage. Literally. Mike’s mother was pregnant while she was in college studying and performing opera. He never had a chance! He began his formal study of music at the age of four, learning violin and singing in choir throughout elementary school. At nine, he started playing the piano. In 1985 he discovered the guitar and was given one that year for Christmas. Teaching himself to play by ear, Mike quickly developed a repertoire of popular rock music, learning every AC/DC riff he could.

In junior high, Mike began seeking out teachers who could help further him along as a player. After a short stint with music store lessons, Mike was accepted to study at The Concord Community Music School in Concord, New Hampshire, studying Classical Guitar with Christopher Kane and Jazz Guitar with David Tonkin.

Mike earned his first professional job as a musician playing 12-string guitar for the New Life Singers, a contemporary Christian folk ensemble based out of Concord, NH. At fifteen, Mike started a rock band and began performing music by Metallica, Queensryche, Anthrax, Guns N’ Roses, Judas Priest and Iron Maiden all over New Hampshire with musicians who were already out of school

Eager to learn as much as possible about the guitar, Mike took an opportunity to move to Myrtle Beach, South Carolina, in 1990 to begin studying with Tom Yoder, a local guitar wizard that Mike credits for bringing out the discipline and skills he would need for a lifetime of music achievement. During this period, Mike continued performing in the Myrtle Beach area with local bands. He stayed under Tom’s tutelage until graduating from high school in 1992

After high school, Mike moved to Atlanta with the group Tunnel Vision in hopes of getting his performing career off the ground. The new Alternative and Grunge movements made it difficult for Mike to secure many opportunities, but he did make some acquaintances along the way. During a short stint at a Georgia landscaping company he met Rich Ward of Stuck Mojo, and Sean Delson and Doug Busbee of Salem Ash. Little did he realize then the significance of this brief encounter.

Discouraged by the trend in “anti-guitar-solo” music, Mike did the only thing he could think of: Go To College! Here he studied Music Theory and Composition with Dr. David Maves, ASCAP Composer of the Year 1995. He also continued his Classical guitar studies with Mark Regnier and Jazz studies with pianist Tommy Gill.

After graduating in 1999, Mike moved back to Atlanta to pick up where he had left off. He soon found work in the thriving Atlanta Blues Scene as a mercenary sideman for hire which gained him the honor of being included in a historic photo of GA blues musicians now on display in The Georgia Music Hall of Fame in Macon, GA. Mike also had great success performing with his Nuevo Gypsy/Flamenco duo with Ed Wier. Mike began showcasing his writing with the group The Hybrids in 2000, which ultimately lead to starting a group under his own name in 2002.

Mike was approached by Sean Delson in the summer of 2004 on behalf of Rich Ward and FOZZY to take over lead guitar responsibilities. They were in the process of dropping the joke gimmick to become a real band and beginning a world tour to support their record “All That Remains” featuring guitar solos by Hard Rock and Metal guitar heroes Zakk Wylde, Mark Tremonti and Marty Friedman. They were in need of a real guitar player to do the album justice on the road and Mike was more than up to the challenge, transcending “touring sideman” status to become a feature of the live shows. Since then Mike has toured worldwide with FOZZY and recorded The Duke’s (Ward’s) release on Spitfire Records, “My Kung Fu Is Good” (released worldwide May 2005). In 2006, Mike played lead guitar for FOZZY on the track “Metal Gods” for a tribute to Judas Priest CD featuring Motorhead, Vince Neil, Sepultura and Tim “Ripper” Owens among others.

Being in close association with the band Stuck Mojo, Mike was asked to perform on their long awaited album “Southern Born Killers”. After having toured with the band multiple times and appearing as a guest in the upcoming DVD release “Live at the London Underworld”, Mike joined the band as an official member and second guitarist to Rich Ward in 2007, appearing in the music video for “I’m American”. During Mike’s time with Stuck Mojo, they toured extensively throughout Europe with Vol Beat and Ektomorph, as well as signed with Napalm Records to release “The Great Revival” in January of 2009.

2009 also finally saw the release of the live CD which had been recorded in Australia on FOZZY’s 2005 “Remains Alive” tour. Mike’s final contribution to the band was to produce the track “Wormwood” for the January 2010 release “Chasing the Grail”. Chris Jericho penned the lyrics about the end of the world inspired by the book of Revelations. Mike turned those lyrics into a 14 minute progressive hard rock cinematic feast for the ears composing, arranging, engineering, playing all of the guitars, conducting the choir for the finale and co-mixing with Eric Frampton. This standout track was a complete musical departure for the band and it demonstrates Mike’s growth as an artist in his own right. “Wormwood” has been a very highly reviewed track on the album and a fan favorite
 but more importantly, it is a synergistic example of all that Mike has to offer and a tip of the hand as to what he will be up to on his next projects.

During his tours of duty with FOZZY, The Duke, and Stuck Mojo, Mike seized upon the opportunity to build a project studio at his home so he could begin to produce his solo projects. The first of which was the instrumental album “2 of 5”, originally released the Summer of 2006 independently on Serpa Records, and now available worldwide through Steve Vai’s Digital Nations Division of the Favored Nations record label. “The title is a reference to the Borg character ‘7 of 9’ on Star Trek,” says Mike. “I am the second of five children so I thought it was pretty clever.” With the new Vai DN partnership, and the critical acclaim and success of “Wormwood”, 2013 is poised to be the year Mike gets his band touring properly as well as working on a new music set to be released in 2013.

2011 – 2013
Mike worked with Atlanta projects Agent Cooper (featuring members of Fozzy, Stuck Mojo, The Duke and Salem Ash) and The Nominees (featuring members of doubleDrive and Speed X). Touring Europe opening for Tony MacAlpine in 2012.

Highlights for MIke’s solo project in 2012 include opening for Steve Vai at Center Stage in Atlanta, GA and The Aristocrats (featuring Guthrie Govan, Bryan Beller and Marco Minneman) in Nashville, TN

Mike’s foundations in Classical, Metal, Jazz, Folk, Rock and World music have allowed him dedicate his career to versatility and culture with the highest respect for art by any means necessary. Perhaps he is best described in the following way:

Art with a purpose is a force to be reckoned with.

Chris Green

Chris Green

Chris Green Biography

Guitarist Chris Green has had the pleasure of playing in a long list of powerful rock bands, including Furyon, Nelson, Scrap Metal, Defcon, Firehouse and Pride. In 2008, the UK band, “Furyon” recorded their debut album with platinum-selling producer Rick Beato. His most recent project is a collaboration with CJ Snare, “Rubicon Cross,” as well as writing an instrumental album yet to be released.

29 Mar 2013
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Common Sense… To Post or Not To Post

A couple years ago I wrote a blog on artists of any genre to include music, acting, variety, writing etc…, using social media as their soapbox for the personal political or religious beliefs and the possible cost of doing so. Now I am writing a new one to help clarify the importance of being professional especially when hot political and religious topics like what we just went through with marriage equality. Today I received an email that a financial backer would not fund a project because of a certain artists rants on Facebook. This has cost 20,000 dollars in funding for the project. This morning when I woke up to the email saying basically that they will not fund a show with someone in it with such an obvious hateful stance on something we believe in so if I wanted the funding I had to get rid of that artist and replace him with another or they wouldn’t fund it. Now this may not be fair but it is business. It’s their money, they don’t have to freely give of their hard earned cash to something or someone they don’t believe in. These projects are opportunities for artists to not only get paid, but hopefully grow their fan base and brand as well as gain crucial experience in the industry. This is an artist that I have to talked to before about this many times and now it has comeback to not only bit me in the ass, but the artist and possibly every other artist involved with the production. You must remember, that people use Google to research what they are funding! Don’t think people won’t notice what you are saying. Never put yourself in the position of losing funding if you can at all help it.

I know you all think we have free speech and we shouldn’t be censored, but with free speech comes responsibility. If you are an artist of any kind of entertainment and you feel so strongly that you should be allowed to speak your mind at anytime because you have free speech, then by all means feel free to do so. Just do it on someone elses dime. Once you decide to work with other people, you have a responsibility to them and anyone else involved to make sure whatever you are working on becomes successful, not to cause controversy. Take a look at what has happened to Michelle Shocked recently for a sarcastic comment at a live show. All her tour dates where canceled in response because of her free speech. Now certainly Michelle has the right to free speech, she has every right to support her beliefs however she wants, but there comes a price with it. Now she is holding “sit-ins” in front of tiny clubs that canceled her with tape across her mouth saying “silenced by fear.”

What about the Dixie Chicks? They got nailed for one comment on stage. Of course being in a foreign country and slamming your President is never a good thing but they didn’t see anything wrong with it and the result was radio stations across the country quit playing their music for years and huge loss of fan base. They had a slight comeback but they never achieved the same level of success. There are many more examples of this I am sure.

You see, this is a BUSINESS. Promoters, venues, financial backers or whomever have their own personal beliefs and if they don’t line up with yours and you say something controversial then don’t be surprised when you loose the gig. They may do it out of fear of losing ticket sales or they may just want to not support your beliefs and outspoken way of handling the issues. In Hollywood it has never been a secret that if you favor one side of politics it could be much harder to get roles. This is nothing new whether it is right or wrong. People are people and they like to work with people they feel they have things in common with and understand them.

I have seen so many artists or promoters on Facebook fail miserably at Kickstarter programs or have lagging ticket sales and they are always starting controversial topics on social media. Do they ever wonder why no one backs them? Good chance part of it at least is your rants about your beliefs let alone the quality of show being provided. I have even been emailed about some of these people asking me to talk with them and I have nothing to do with them. I don’t work with or represent them in any way shape or form.

So here are my recommendations on how to handle this if you are an artist. First of all don’t post anything controversial on your social media pages especially business ones. If you have a personal one with your “stage name” and you post a ton of business on it, it’s now a business page. Either focus on your business page for marketing or hide your personal one from the general public and Google search engines and make it for friends only so your personal “opinions” don’t affect anyone working with you but you and you still get to stand up for what you believe in. If you are in a collective group of any kind say a band, acting troup etc… make sure you talk and set some ground rules so one else suffers from someone’s rants on Facebook. If you are “political” artist then I assume you already know the consequences of your actions and that is fine. If that is your vision go for it. Just make sure you are open about it with everyone you work with. You have every right as a human being to voice your opinion, you don’t have the right to ruin someone elses chances with your opinion. Be responsible with your free speech and you will benefit from it. Once you are big as U2 you can say what you want, because now you can afford to live if everyone ends up hating you and never buys another ticket to a gig. Remember especially here in America, the country is very polarized politically and if you alienate one half of your possible audience with your own personal political views, you are in for a very long hard road to success. The beautiful thing about social media is you can’t post what ever you want, it’s your page, your right to do so. The bad thing about social media you can post what ever you want.

If you are a newer promoter, venue, talent buyer etc… avoid artists like this like the plague. Hire only professional artists that understand it’s a business and want to make sure that every event they do comes off as professional and successful as possible. You can’t afford to loose ticket sales on artists that don’t care about anything but themselves. As a promoter check with an entertainment attorney to see if you should have some recourse to come back at them and sue them for damages if an artist causes you to loose money like this. Have set guidelines for your events and make sure the artists are clear on them and also make sure you research the history of the artist. I made the mistake of trusting someone to be professional and it has cost me.

I have said it before and I will say it again, as an artist trying to make it in the very, very hard industry, you can’t give anyone a reason to say “no” to you. Do you really want to lose possible ticket or merch sales just so you “rant” on social media? Why work so hard to make it then if you are willing to take such risky chances? This business is already way to risky for most to even try it and now you want to add to the risk? Your marketing, performance, attitude, media savvy should all be top notch. You more than likely don’t have a PR department to “spin” your free speech or questionable actions so you have to be able to do all this yourselves. If you aren’t willing to be professional at all times with your brand there are plenty who are and will take your spot on the roster or gig.

I know you won’t all agree with me and that is OK and I certainly support free speech, it’s a matter of knowing when to exercise it. If you are going to exercise it, do it responsibly, not in anger or hate, refrain from pointing fingers at one side or the other. Just make a nice, solid statement that isn’t inflammatory and leave it at that. Don’t go posting on everyone’s time line that doesn’t agree with you, or posting those sarcastic photo’s everyone seems to like to create. I have learned from my mistakes and will handle things differently with artists. Artists won’t be costing me money anymore.

Good luck!

28 Mar 2013
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Originality… What Does Elvira Have To Do With It.

Elvira

When you look back at people who have made a very successful career at entertainment and are still going strong decades after launching it’s hard to think of many still around especially one that is still a marketing dream come true. This is where Elvira (aka) Cassandra Peterson excels. Elvira was launched in 1981 by Cassandra and to this day is one of the most iconic characters in entertainment. She has created a brand that encompasses 400+ product licenses, the most sold Halloween costume ever, music CD’s, books, pinball machines, guitars and the list goes on. Finding truly iconic characters these days is hard work. Most are known for their personal problems not their originality. Tell me the last time you heard anything negative about Elvira? Her success is due to her originality, extremely well defined character and marketing.

Why do I bring this up? Because it could be you. You could be the next Elvira, Kiss, Alice Cooper, or whomever you can think of that are still around 30+ years later even after their hay day. Sometimes these things happen by accident. Cassandra probably wasn’t thinking that Elvira would turn into this iconic character, but she did and Cassandra took full advantage of it. Now I have never interviewed Cassandra. I did know her sister back in Colorado Springs however. She hung out a bar called “The Gardens” that I worked back in the early 90’s. I remember talking with her. How proud she was of Cassandra and all she had accomplished. Cassandra hit a gold mine with her character, probably had a decent team behind her to capitalize on her character and today Elvira is as big as ever and her cult legacy lives on. She is all over Facebook, Pinterest and anything Halloween.

Sometimes as entertainers we take ourselves to seriously. I read on Facebook the other day a band posting about how they were “real” and they didn’t care about image etc… So just shoot yourself in the foot why don’t you. This is a lame excuse for people to not put in the work for thinking outside the box, finding something original and running with it. You can do this and still maintain your sense of you or who you are without sacrficing your “realness,” whatever the hell that means.

Everyday people say, “if people would just get behind me, invest in me then I would prove that I am worth it.” So what exactly are they getting behind? What are they selling? Are you sellable the way you are now? Why would anyone want to invest in your brand if you don’t really have one? What is going to make you stand out from the millions of other entertainers looking to get noticed? We are looking for stars, not our next door neighbors.

Now I am not saying you have to go get “gothed” up to be noticed. I am saying that you need to be original, marketable and dedicated to working you butt off. If you want longevity in this industry, which from what you all say about how you wish you could do it full time and that it’s all you want to do, then you need to be willing to put in some development, take some risks and forget what every other lame ass next to you is saying because they will only tear you down especially once you start having success.

Be bold, be brave, be energetic and works twice as hard as you think you need to. You see, you need to be ready to move on to the big time like Cassandra was. Elvira was born out of a need for a character for a classic horror “B” movie TV show that was being brought back to life. Cassandra had one character already and merged it with the “Elvira” concept to fill the TV show need. Once the opportunity knocks, you need to able to act on it. Cassandra did and look what happened. This couldn’t have happened without Cassandra’s creativity to come up with the original character. Once you get there, it only get’s harder and busier. You think you are busy now? Just wait…. Take the time to “develop” yourself into something the public will purchase. Don’t you think Cassandra thought it was worth it?

Good luck!

Find out more about Elvira here: www.elvira.com

Elvira (@TheRealElvira)
@lowryagency Great post! XX

 

27 Mar 2013
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Work Ethic…. An Example

SammyCortino

 

Every once in a while I like to recognize at least what I consider someone who is doing everything they can to achieve their dream. Someone who I see constantly striving to be the best they can be and pushing new limits for themselves. This time I am recognizing illusionist Sammy Cortino. Now to be fair, this is only about work ethic. I am not talking about his show as I haven’t seen it other than a few video clips and the one illusion Sammy did for a show of mine last year. This is purely based on how hard I have watched Sammy work over the last four years.

I found out about Sammy Cortino on twitter four years ago and we became social media friends. Since then, Sammy has moved to Nashville, TN and is carving out his niche as a master illusionist around the country. Rarely have I seen someone give so much of themselves to their dream and try so many things to see what worked and what didn’t. Most just stay the same, never trying anything new, not listening to advice and wonder why over the last few years nothing gets any better. It becomes everyone’s fault but their own and the reality it is simply the world didn’t want to buy what you had to offer, at least not in the way it was presented by you. Sammy is becoming so good at learning to change things up and re-branding his image when necessary. He sinks his money back into his career, most importantly in the things he actually needs, not necessarily wants. For those entertainers that complain about travel and how much they have to take, try being an illusionist. Set up and tear down time is much longer and usually 1 – 3 people doing it not 4 – 5 like in a band.

Sammy tries to fusion things that have rarely been done before or are original, another trait lost on many. Keeping a show fresh and something you can sell over and over again to the appropriate talent buyers or promoters is incredibly important and Sammy seems to understand this. This isn’t to say Sammy has figured it all out or is always gigging. He hasn’t and he isn’t, but he is working harder than just about anyone I have ever worked with by far. Sammy is always coming up with new photography, videos, illusions and tons of other content to try and keep himself fresh in the worlds mind. Sammy also understand that image is everything. You can decry it all you like, but it’s the truth. It’s the first thing people see and it determines whether or not they will click anything to check you out.

Whatever you may think of Sammy Cortino’s show or talent is up to you, but what you should take away from this is no matter how talented you are, if you are not working as hard as someone like Sammy is, they will take your spot on the bill or the stage just based on their work ethic alone.

Well done Sammy Cortino. I wish you all the best in your endeavors and success in what ever way you deem it.

http://www.youtube.com/watch?v=FO_BcBQz7UE

Note: The Lowry Agency is in no way affiliated with Sammy Cortino.

26 Mar 2013
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Finding the Courage…

For anyone trying to make it in the entertainment business or professional sports, you are constantly under barrage from people telling you that you can’t do it. You are aren’t good enough, you don’t have what it takes or there is no money in it so go get a real job (like there is any security in that anymore anyway). You deal people who let you down, who don’t do anything at all after the big long speech of how good they are, how hard they work or what they can do for you.

You have haters and trolls on the internet, other people in your genre constantly tearing you doing or taking jabs at you. It get’s lonely, harder and often times you feel like giving up. Well you can’t. No matter what anyone says or does to you, only you can keep pushing, proving them wrong and only you know who you really are. Anyone who would tear you down is the insecure one, the one who if full of it, the jealous one who really has no idea what they are doing. You can’t let them affect you or stop you.

No matter what life throws at you, you have to keep pushing on with your dream. In today’s entertainment scene you have more control than ever and more often than not, that means you are doing it on your own because now the money is gone. You can’t afford to pay for professional help and you are facing this wave of overwhelming obstacles and people who have no life so they try and tear you down.

So let me offer this to you for some inspiration. No matter what you are facing in life, business or if you are someone who is trying to help someone you care about get through something, do it with the strength and focus that Garrett shows in this video. If he can over come what he is going through, we can over come what we are going through.

 

I wish you all the best and the strength to get through it.

Good luck!

 

21 Feb 2013
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Stepping Over the Process…. is it Realistic?

First let me just say this blog is in response to what keeps coming across my email or phone conversations. This isn’t an attempt to come down on artists but an attempt at maybe setting some realistic expectations. I have been receiving a lot of phone calls from artists either out of frustration with other band members or from artists that think they can just step over the process of touring and building/rebuilding a fan base. I guess anything is possible but it’s not likely to happen even if you have had success in the past. This is not the same industry many of us grew up with and we can’t keep assuming that because 20 years ago the artists had a hit or toured the world with so and so band that people have any interest in us or care about our music at all. Artists call with no budget, no new music, no website or one that has been “in development” for years expecting that they can just go on the road and make thousands per show because 20 or more years ago they had a minor hit or two. It’s not going to happen. Current artists with hits on the radio are making $2,000 guarantees a lot of times and yet artists that haven’t had a hit since 1992 that want $8,000 or more a show. You better be a legacy act with huge hits from the past that are still played on the radio to demand that kind of money or more. I know how expensive touring is, but the money isn’t there for touring with artists with no active history or fan base that will support the necessary tour numbers for there to actually be a profit. This is when a band or artist has to suck it up and either rebuild for little money, try something completely different or maybe decide this isn’t for them anymore and do something in music that doesn’t require touring for small dollars.

For example, the first thing I am asked by anyone in a position of helping is “What do they have going on?” Many times the answer is nothing (note that when artists come to us or anyone else for help they have this notion that 3 months is an expected amount of time to make things happen), they have no new music, no tour dates, outdated photos and websites. How do you expect anyone to help you if this is your state of business and you don’t take the time to get it right before approaching anyone? The second thing is “Do they have a budget?” The answer is almost always no and people understand if times have been rough on the career but it’s amazing how many artists are not willing to put money into their own career but expect others to. If the artist doesn’t  have a budget then almost no one is willing to help and people can’t giving away their services for free. Video EPK’s cost money, photography costs money, etc… but artists are always hoping people will help them for free and then expect that things happen in a short time period. For the person that is connected like Irving Azoff and has his resources this is possible, for the rest of the “real” music world it probably isn’t. Music is a very speculative business to begin with and no one is looking to lose money on an artist no matter how much success he or she may have had in the past. As much as people love some of these artists, he or she needs to get paid as well and they can’t work for free or spend time with unrealistic artists that can’t or won’t rebuild career realistically if there is no interest in them at all.

Just because an artist may have had success in the past doesn’t mean they get a free pass of touring the bar circuit again and starting over. Yes that means rebuilding your fan base and getting paid very little most of the time. If you can’t do that then maybe playing isn’t for you anymore. I know we all have bills to pay but money is in short supply and investors want a return on investment. They don’t want to support an artist that hasn’t been on tour in 10 or more years and won’t draw 150+ people to a show. You as an artist are in the position you are in because you let yourself get there. You chose to not tour, you chose to not listen to your team or possibly choosing the wrong team. It could be a lot of different reasons for your situation and many of those may not be your fault, but it’s still your job to be realistic and make things happen with today’s current landscape, not what was possible 20 years ago when people were throwing money around like it was water.

Don’t pigeonhole yourself with unrealistic expectations. For example, if you think a major label is going to sign you, fund your tour and you’re a prog rock band, think again. No label is going to fund that tour unless you already have a huge fan base and more than likely you will just get shelved as prog rock probably isn’t there thing at this label. Most prog rock bands aren’t huge and most likely never will be. If you get a label interested in your music, at least entertain the idea and not shoot it down because you think a major is going to offer you something when you won’t even play shows because you don’t make any money on them. Do you know why you don’t make any money? Because you have absolutely NO FAN BASE at all. Who is going to fund a tour for a band with no fan base these days? Please tell me so I can call them up.

There are no shortcuts normally in this business. Take Mike Portnoy for example. One of the most popular and talented drummers in the world, who has a large fan base from his history as a musician and still he and his current project “Adrenaline Mob” are playing clubs to a couple hundred people a show. He knows he has to build this band no matter who he is and he is willing to put his money and time into it. Even someone as relevant as Mike has to work it the hard way sometimes.

If you are a musician reading this, please consider where you are at in your career. If you are in a band but won’t tour because your “cover gig” is paying more money, than back out of the band and let the band find someone hungry enough to make it happen. If you are an artist with a past but currently not where you were a long time ago, then ask yourself “how bad do I want this?” If you won’t play for smaller guarantees then you need to book yourself and stop making people’s lives difficult who are trying to help your career because you can’t be bothered with playing for smaller amounts of money. You are only as big as your last gig or chart success in the current times, not 20 years ago.

There is a process almost everyone has to go through. You are more than likely going to have to go through it as well. If you can’t or won’t, get out of the way for those that will and let your band move on with people who want it bad enough to put up with the crap of the road and bar tours.

Good luck!