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Putting Together A Band Just wanting some input on this. I'm in a large orchestra-type band, but I've been trying to put together something smaller based on the same concept (orchestral punk or chamber punk). The problem is I can't get people together. People have told me getting people together in the first place is the hardest part of getting a band started and it seems to be true. There's a strong lack of initiative and commitment and then there's the issues of who to ask, who would really work with the band. Do you hold auditions or just invite? Etc.
What's the secret in putting together a band of committed and talented members who won't flake out? Do tell. | |
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Lie. Lie a lot.
- Tell people that you've already got gigs... hell - that you've BEEN playing gigs for 6 months and just replacing the dead weight. - Tell people that you're ABOUT to go into the studio to record this thing and you're just fluffing out the final pieces of the band. - Tell them you've got backing from (insert b-level punk/orchestral producer - somebody that they've HEARD of, but couldn't possibly track down) and or that he's offered to produce your demo. These things are solely for the purpose of getting commitments from people who would DEFINITELY be interested in playing in your band, but don't want to waste time in a band that's not going to hit the ground running. I just went through the same thing, and as soon as the drummer/bassists heard who's playing in the band and where we're already playing, they were calling me back bugging me for rehearsal times. Just you know - brace yourself when they find out that you're a musician and a band leader who lies - because you'll definitely be the first to do that. Especially in punk rock. [Edited 11/11/04 9:42am] The Last Otan Track: www.funkmusician.com/what.mp3 | |
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this reminded me of an article I wrote about 6 years ago:
How to get a gig in Atlanta without a promo package, a following, or a clue.
Here you go folks - tried and true guerilla tactics. Booking from the hip. Promoting without prejudice. Call it what you will, but these tips have all been used by the band at one time or another, and WORKED! Once I learned that clubs don't really actually do any research when booking a new band, I was able to bluff my way into almost EVERY CLUB in Atlanta. Now, I would never condone dishonesty or falsifying records for personal gain, unless of course, it got you the chicks. (And that's why most of you started bands, right?) So, here you go... Call the club to confirm for a gig four weeks away. When the booking person at the club has no clue what you're talking about, tell them that [some other band's] manager told you that you were going to open for them on that date. You tell the booking agent that you've already got promotional materials printed up and posted in half the music stores in Atlanta, and that you were assured this gig was a definite. This trick worked twice. Repeated Requests You and your four friends call the club repeatedly over a two week period, asking if [your band's name] is going to be playing there soon - THEN, you call, representing the band, asking for a gig. This is similar to the ol' prank phone call trick, where you call asking for Joe Blow all day, and then call and say you're Joe Blow, did anybody call for you. It worked about three times. The Bluffed Promo Kit If you INSIST on using the old promo/demo package - lie outlandishly in the promo kit... tell them you opened for semi-big name bands - never local bands though - back when I pulled this off, I used names like Alice In Chains, Screaming Trees, and Sugar - and the shows that we opened were always in the next state over. This does two things: it puts your band in a category so the booking agent will know who to book you with, and it puts you with some big names that cannot be reached to confirm your (faked) shows. Sure, when you make it big on MTV, you'll have to answer allegations that you lied your way to the top, but, well, live now, pay later, that's what I always say... and then, POW! You get your own episode of Behind the Music. Predict Who Will Be Big and book a gig opening for THEM. Now, I realize that THIS tactic requires a little more work... and it'll probably work for you better if you've made some contacts. What you do is find out when a label is about to get behind a band and give them a big push. For example, the first time 311 played Atlanta, they played a free pass show at the Masquerade... and the only people there were label people, checking out the band, and ME. With this knowledge in hand, I asked the booking guy at the nightclub to book us to open for them the next time they came through. He did it, figuring it would be a piss-ass little show. 2 months later, the band had gone big-time with MTV videos, huge outdoor festivals, and the show sold out. So we got to play in front of a max-capacity crowd. Get a local radio-station dj to join your band. Sure, I'll admit that this, too, is a far-fetched ploy, but it works. Most rock dj's are failed musicians, or learning to be musicians, or, hell, can at least play tamborine and sing backup. So, you find one, get him/her in the band, and DAMN! Suddenly, they know about upcoming gigs that need openers LEFT and RIGHT! I would advise you, though, to be sure you pick someone that you really want in the band... god help you if you bring somebody in the band that everybody hates. Luckily, this was not the case for good ol' Headquake. The Last Otan Track: www.funkmusician.com/what.mp3 | |
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Thanks, Otan, for all the tips. That's great and shows your dedication (something pretty rare, I think).
The funny thing is, being affiliated with the larger orchestra, our little band would already have a well-known producer who I've spoken to and claims he would have no problem getting us gigs and that it would help the orchestra too in getting publicity. On top of that, we already have plenty of musical arrangements ready to go since the chamber group did exist before with much success before it disbanded. And there would be a good chance of recording as well once we got rolling, and with a top record producer too. I guess what I'm running into is orchestra politics and people who think they deserve to be in the band and claim their space, but are dragging their feet and don't really want to put in the work. So it just languishes in the wings. I wish I could just kick the prima donnas out and get some real folks who are into it.  | |
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hbo,
You said you've already got someone who'll book the band and i'm guessing these are paying gigs. If that's the case, you're already ahead of the game. This is usually one of the biggest stumbling blocks in putting and keeping a band together. The folks you're dealing with must really be flakes if potential gigs (performance/recording) are not an issue and they still won't act right. It sounds like you're gonna have to look outside of your immediate circle of players. Ideally, you want players who are there for the love of the music whether gigs are on the horizon or not. I won't lie to you, going the audition route is usually a time consuming and draining experience. You'll have to kiss quite a few frogs/frogettes before you find your prince/princess. Outside of word-of-mouth recommendations, you'll probably have to go the free ad route. Here in L.A. there are a few resources i've successfully used in the past. One is the Recycler (www.recycler.com) which has a section specifically for musicians (Musicians Seeking Bands and Musicians Wanted). Another publication is Music Connection (www.musicconnection.com). Under Muscians Available or Musicians Wanted, they break it down to specific instrument categories (String Players, Horn/Wind Players). There must be similar publications in San Francisco. On a smaller scale, there's the LA Weekly which is equivalent to SF Weekly in your neck of the woods. I have a post with some general info that might be helpful once you get your players together: http://www.prince.org/msg/15/117189 Good luck kiddo. 
tA  Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: hbo,
You said you've already got someone who'll book the band and i'm guessing these are paying gigs. If that's the case, you're already ahead of the game. This is usually one of the biggest stumbling blocks in putting and keeping a band together. The folks you're dealing with must really be flakes if potential gigs (performance/recording) are not an issue and they still won't act right. It sounds like you're gonna have to look outside of your immediate circle of players. Ideally, you want players who are there for the love of the music whether gigs are on the horizon or not. I won't lie to you, going the audition route is usually a time consuming and draining experience. You'll have to kiss quite a few frogs/frogettes before you find your prince/princess. Outside of word-of-mouth recommendations, you'll probably have to go the free ad route. Here in L.A. there are a few resources i've successfully used in the past. One is the Recycler (www.recycler.com) which has a section specifically for musicians (Musicians Seeking Bands and Musicians Wanted). Another publication is Music Connection (www.musicconnection.com). Under Muscians Available or Musicians Wanted, they break it down to specific instrument categories (String Players, Horn/Wind Players). There must be similar publications in San Francisco. On a smaller scale, there's the LA Weekly which is equivalent to SF Weekly in your neck of the woods. I have a post with some general info that might be helpful once you get your players together: http://www.prince.org/msg/15/117189 Good luck kiddo.
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm thats it man but you'll be dealing with alot of flakes my first band, i screened it very thoroughly took me 1 and half years to put it completely together to find some decent players thatw on't flake out on me and will find a bond aof friendship if you are already booked for gigs, you where a way lot better than i was | |
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theAudience said: hbo,
You said you've already got someone who'll book the band and i'm guessing these are paying gigs. If that's the case, you're already ahead of the game. This is usually one of the biggest stumbling blocks in putting and keeping a band together. The folks you're dealing with must really be flakes if potential gigs (performance/recording) are not an issue and they still won't act right. It sounds like you're gonna have to look outside of your immediate circle of players. Ideally, you want players who are there for the love of the music whether gigs are on the horizon or not. I won't lie to you, going the audition route is usually a time consuming and draining experience. You'll have to kiss quite a few frogs/frogettes before you find your prince/princess. Outside of word-of-mouth recommendations, you'll probably have to go the free ad route. Here in L.A. there are a few resources i've successfully used in the past. One is the Recycler (www.recycler.com) which has a section specifically for musicians (Musicians Seeking Bands and Musicians Wanted). Another publication is Music Connection (www.musicconnection.com). Under Muscians Available or Musicians Wanted, they break it down to specific instrument categories (String Players, Horn/Wind Players). There must be similar publications in San Francisco. On a smaller scale, there's the LA Weekly which is equivalent to SF Weekly in your neck of the woods. I have a post with some general info that might be helpful once you get your players together: http://www.prince.org/msg/15/117189 Good luck kiddo.
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm Hey Big Brother,  | |
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TheRealFiness said: Hey Big Brother,
Whassup Broham. Good to see ya face in tha place. 
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said: hbo,
You said you've already got someone who'll book the band and i'm guessing these are paying gigs. If that's the case, you're already ahead of the game. This is usually one of the biggest stumbling blocks in putting and keeping a band together. The folks you're dealing with must really be flakes if potential gigs (performance/recording) are not an issue and they still won't act right. It sounds like you're gonna have to look outside of your immediate circle of players. Ideally, you want players who are there for the love of the music whether gigs are on the horizon or not. I won't lie to you, going the audition route is usually a time consuming and draining experience. You'll have to kiss quite a few frogs/frogettes before you find your prince/princess. Outside of word-of-mouth recommendations, you'll probably have to go the free ad route. Here in L.A. there are a few resources i've successfully used in the past. One is the Recycler (www.recycler.com) which has a section specifically for musicians (Musicians Seeking Bands and Musicians Wanted). Another publication is Music Connection (www.musicconnection.com). Under Muscians Available or Musicians Wanted, they break it down to specific instrument categories (String Players, Horn/Wind Players). There must be similar publications in San Francisco. On a smaller scale, there's the LA Weekly which is equivalent to SF Weekly in your neck of the woods. I have a post with some general info that might be helpful once you get your players together: http://www.prince.org/msg/15/117189 Good luck kiddo.
tA Tribal Disorder
http://www.soundclick.com...rmusic.htm Wow, I'm going to have to study that bandleader thread which has a lot of great info. This is a lot trickier than I thought. I guess I was going for an all-around non-heirarchical collaborative team effort (considering there's so much potential for this thing), but that's the utopian in me speaking. It looks like if there's going to be a bandleader, I'm it and I'm not sure I can take that on. I'd be willing to if it was the right group, but I'm not sure I can deal with the egos. Hmm....  Yeah, maybe I should start from scratch and look for some folks outside the circle.  | |
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