Things are changing

Greetings and welcome.

In November of 2013. I will no longer be supporting this blog as I will move towards a full-scale online rebranding focused on my research and passion for music business marketing.  You can check out my new blog directly at my website which is:

www.jeremylarochelle.com

I will keep this blog active, as I feel there has been a lot of information shared for both drummers and musicians alike. Just remember, I will not be maintaining the new site. So please visit:

www.jeremylarochelle.com

I look forward to seeing you there!

Make the most of an hour of practice.

Let's face it. As drummers, we rarely have the ability to practice for hours on end. So when we are afforded the opportunity to hit those skins, we have to make the most of it. Quite honestly, I would rather practice an hour a day for five to six days a week, than three hours every three days, but hey, that's just me.

So if you have an hour of practice time. How do you make the most of it and still enjoy what your doing?

Well, I found the answer lies in breaking apart your practice routine. This is how I roll (get the pun).


Module 1:
1 Hour of Available Practice (20 minute milestones):

First 20: play along to music that is outside your comfort range. I am a fan of using Spotify, MOG, Slacker, or any other Internet based radio station. I choose a channel, say Jazz, and play along.

Second 20: break out the study materials. You can work on your sight reading, Latin rhythms, independence, or anything else that "challenges" your skill set.

Final 20: free play. You should always have some free time in your practice routine. Again, I go to Spotify, MOG, Slacker, or any other Internet based radio station and jam along to the channel, playlist, tracks, or album of my choice.


Module 2:
1 Hour of Available Practice (more in depth study time):


First 15: play along to music that is outside your comfort range. Same rules as module one, but for only 15 minutes.

Middle 30: break out the study materials. Again, same as module one, but you will be devoting more time, about ten minutes, to more in depth rehearsal that challenges your skills.

Final 15: free play. Remember, you should always have some free time in your practice routine. Again I go to Spotify, MOG, Slacker, or any other Internet based radio station and jam along to the station of my choice.

Module 3:
1 Hour of Available Practice (10 minute style challenge):

This practice routine is designed to challenge your ability to play multiple styles. Again I use Spotify, MOG, Slacker, or any other Internet based radio station, and switch the station every ten minutes. For example: country for ten minutes, jazz for ten, rock for ten, pop for ten, funk for ten, and rap for ten. The goal is to move quickly between channels so you can get used to playing in any style "on the fly".

Feel free to use different modules different days of the week, or even make up your own. I find when you break apart your routine, you can accomplish much more in your practice time and really enjoy what you are doing.  So drum on and let me know how this works for you.

P.S. This works for any instrumentalist, by the way.

Internet Radio...A Modern Drumming Practice Tool.

When I was a younger drummer we didn't have iPods, iPhones, or even computers small enough to set-up next to our kits. We had Sony Walkmans and a little later on CD's.  While these mediums were great to utilize in a practice session they had their drawbacks. Most importantly you were stuck to the single artist on the cassette or disc. If you wanted to change up your routine you had to waste time changing discs or worse yet make a mix tape before you began hitting the drums.

To counter this problem I would play along with FM radio. This allowed me to practice to a variety of artists without having to change out CD's or cassettes after every song. Jamming to the radio had some great advantages. First it allowed you to practice along with a multitude of artists and second it always kept you "on your toes" because you had little time to prepare for the next song in cue. For me this proved beneficial because it trained me to handle the many pick-up situations I would eventually encounter during my drumming career.

Thanks to the Internet and streaming services today's drummers have a radio on steroids to accomplish this same task.

I currently use Slacker Radio in the same fashion that I used the FM dial so many years ago. But Slacker has a number of benefits over traditional radio. First users can select a number of genres to listen to, or if you are a musician jam along with. These genres include country, jazz, hip-hop, rock, classic rock, hard rock, R&B, and even Christian.  Each of these genres has a number of sub-genres that allow you to dive deeper into a particular style. For example under the jazz heading you can choose classic jazz, modern jazz, smooth jazz, and vocal jazz, among many other sub-styles.  And all of these stations remain in radio format so you can stay on your toes as you move from artist to artist.

With such a deep selection of stations the drummer can really focus their practice routine on a particular style or a multitude of genres.  On some days I move from Slacker's modern country station, to classic R&B, and finally their classic jazz channel.  This has really helped me to stay on my game, find new artists, and develop my playing repertoire in each style.

Slacker isn't the only streaming service available. Available radio based stations include Pandora,  iHeart Radio, and Last.FM. There are also a number of streaming services such as Spotify, MOG, and Grooveshark, among many others that allow you to listen to virtually any artist of your choice instantly. Many like MOG allow you to listen to customized play lists that match the artist of your choice with similar acts. So if you like Hendrix you can listen to a station with Clapton, Stevie Ray Vaughn, and Jeff Beck thrown in the mix.

All of these Internet streaming companies can be enjoyed via a web browser, or through one of their apps, which allow you to enjoy them on your iPhone, iPad, iPod touch, or Android device. And if you opt for their premium services you can even enjoy their music offline. This allows the drummer to have a pocket full of musical genres and artist to jam along with no matter where they are in the world.

Happy drumming!

Why You Should Love Rich Redmond

If you don't know who Rich Redmond is, let me help you. He plays for this little known country star named Jason Aldean. 

I hope you caught my sarcasm on that one.

Rich has also recorded, performed, or toured with other artists including Bryan Adams, Miranda Lambert, Jewel, The Pointer Sisters, Trace Adkins, and Hank Williams III among many, many others. Just visit his website at www.richredmond.com to see the overwhelming complete list of people he has kept the back beat for.

For all you music nuts out there you will be very impressed to know that Rich got his formal training at The University of North Texas and held the drum seat for their one o'clock lab band. For those who don't know that lab is the world series of higher level music education performance.

Besides his discography and impressive education here are four reasons drummers should check out Rich Redmond.

1. He ACTUALLY plays on all of Aldean's studio albums. 

This is a huge feat in Nashville where different drummers are allocated for an artist's studio and live performances, and a huge testament to Redmond's skills on the kit.

2. He has earned a refined groove.

Many drummers think that it is all about complex grooves, busy fills, double bass, and blazing speed. It is only after the artist develops himself over time in the studio and on the stage that they realize the best drummers keep it simple, pick their fills perfectly, and replace technique with an infectious groove. Rich has clearly done that. He plays for the song. That is a true testament to his superstar drumming status and puts him in line with greats such as Steve Gadd, Joe Porcaro, and Bernard Purdie. 

3. He puts on a show.

When Rich is in front of an audience he is an animated player. This elevates the experience for the fan, and helps him lock into the pocket. Watch this live video and see what I mean.

4. He gives back to the drumming community.

Over the past couple of years Rich has supplemented his extensive recording and live calendar with drum clinics across the country. Titled Rich Redmond's Crash Course for Success these clinics give drummers insight into his playing, practice routines, and how this chart topping drummer handles the business side of his craft. It is empowering and unlike any clinic you have ever witnessed.

These are just some of the reasons I enjoy Rich Redmond and his musical ability. I encourage you to check out his website www.richredmond.com for more information. 

To hear his amazing studio playing check out Jason Aldean on iTunes.

If you want to witness one of Redmond's clinics check out his Crash Course for Success Web page.

The newer prouder country artist.

Yesterday I posted a link to Jason Aldean's newest release Night Train on my Facebook page. A few hours later a musical comrade of mine made a comment that got me thinking about modern country music.

According to my Facebook buddy the new Aldean album "ain't country".

This got me questioning; "what is country anyway?"

I find that a lot of people I run into who aren't up-to-date on the genre still think country is twangy stories about drunk lonely nights, divorce, and missing your dog. And for years this was country. Throughout the 70's, 80's, and most of the 90's country music was pretty damn sad. Sure their were the occasional two-steppin' hits, but for the most part country music was sad music.

Over the past decade the genre has been changing. It has become more powerful, more "proud".

Take a listen to Take a Little Ride from Aldean's newest album. This isn't a song about loosing a dog, a wife, or a house. It's a song about a hardworking man whose "been workin' all day bailing some hay"; and now he is off from work, and on his way to hang out with his favorite girl to watch the corn grow, from the tailgate of his Chevy, on a country back road.

Now I know if you are not a country fan that sounds like a pretty boring premise for a song.  However, if you do feel that way, chances are, you never lived in the South.  Or a rural area for that matter.

Well in my short life I lived in Nashville and spent some time in Oklahoma, and I can tell you that this is how people of the south live. It is a wholesome lifestyle, where they work hard for their pay and spend their time enjoying the company of mother nature, close friends, and cold beer. And contrary to what the press, television, and the pundits may tell you, this is how the majority of Americans live. When I first heard the song Pontoon by Little Big Town I immediately though of floating on a homemade barge on Aker's Pond in a northern New England town with no cellular phone service called Errol, and another time tubing down New Hampshire's Androscoggin River with a beer in my hand.

Many people will hoot and holla' that modern country has become commercialized, lost it's roots, and isn't even country music at all. I beg to differ. I think the new generation of country musicians and songwriters don't see their lives the same way their predecessors did. Kenny Chesney, Jason Aldean, Tim McGraw, and Toby Keith are all telling us that it's OK to work hard, love your country, your truck, and to be proud of who you are. Life is short so Take a Little Ride, hop on the Pontoon, have Another Beer in Mexico, or just hop in your Truck Yeah.

So yes, these new artists are country music, but they are part of a new trend in the genre. A trend where the musicians are proud of who they are, where they come from, and their down home values. This has come through in their songs.

This is country.

How Touring Can Elevate Your Career

This week I want to talk about touring, and just how powerful it can for your musical career.

Last week I received my copy of Rolling Stone, and was pleasantly surprised to see that one of my favorite groups, The Dave Matthews Band, had reached number one with their eighth studio album Away From the World.

Dave Matthews hit the mainstream back in 1994 with Under The Table and Dreaming, and close to ten years later, the 45 year old Matthews still leads a group that can sell records and sell out concert venues. This is a rare feat in today's musical landscape. One hit wonders and passive fans have made it almost impossible for a young band to gain national stardom and then maintain that position for close to a decade. So how did Dave Matthews and his group of rocking minstrels do it?

It all boils down to touring. Even before the group had a major label record deal they toured. Their manager Coran Capshaw put them on the road in the early nineties and they crisscrossed the United States a number of times picking up fans at each show. A fan of The Grateful Dead, Capshaw understood the importance of coordinating a fan base for the group and then motivating them to buy into the brand. This proved quite successful because by the time the band was ready to sign a major label deal they really didn't need to. When asked about the group's powerful fan base A&R man Bruce Flohr explained why RCA decided to sign the group in an online article. "I only realized how lucky we were the more shows I went to go see. I was working at a label where 90 percent of the acts we had signed couldn't draw what this dude was drawing. All of a sudden I realized that if RCA did everything wrong, we had a gold album under our belt.

The newer generation of musical dreamers should take notice of the importance of touring. First it helps you support your career. In today's day in age you probably will not sell a huge amount of $16 albums, instead you will sell a larger amount of 99¢ tracks, and you will probably give more away than you actually sell. To earn income you need to get fans to buy into your brand. Many younger musicians think this is done through FaceBook and Twitter, but trust me this rarely works. In order to connect you need to play live in-front of your fans or potential consumers.

When you play a concert, no matter how big or how small, you have a captive audience. If you can give them a performance to remember they will buy your music, your merchandise, and tickets for future shows.  All of this income adds up pretty quick, and like Coran Capshaw knew, can actually help keep a band on the road earning more fans and making more money. 

If a major label deal is your ultimate goal you MUST, and I repeat MUST, tour. As we all know there are fewer and fewer major labels out there today, but hundreds of thousands of musicians fighting for their attention. It is time for musicians to accept the cold hard fact that the music business is a business, and no matter how great your songs are these labels want to see how well you can connect with an audience and get them to buy into your brand.

I want you to step outside your rock attire and into a suit for a minute and look at it like a music industry professional. You are looking at two bands. They both have decent music that can be made marketable. They both have the look, and they are both pretty talented. But band one is touring. They play to an average of 400 people per night. They have merchandise at their shows and are selling t-shirts, thongs, stickers, and music. The other band plays occasionally, usually to about thirty people because they haven't been collecting and mobilizing a fan base, and they do not sell merchandise because they feel their music should speak for itself.

As a music executive it becomes simple math. The first band has proved they can captivate an audience and get them to buy into their brand. If on their own they are playing in front of 400 people per night and most of those people are walking away with music or merchandise, than imagine how much money the label can make when that group is introduced to 1,000, 5,000, or 10,000 fans.

For the executive band two isn't even an option. Even if they had better music, they have not proved they can connect with an audience and make them break out their wallets. Musicians must remember that if you want to make a living at your craft you need an audience that is willing to buy into your product.

This mentality is what put Dave Matthews on the national and global stage, and is why close to a decade later they can hit number one in the Billboard Charts whenever they release an album. Through touring they have built up a fan base that is always hungry to buy into the group's brand. This is what record executives want. They are investing in your small company and want to know that ten years later you will still be making them money. If you can accept that premise than you have a huge chance to get your music heard by the world. 

In an upcoming article I will offer insight as to how to keep records of your sales, motivate a fan base, and sell merchandise so you have the evidence those major executives need when the time is right. 

Want An (In-Depth) Understanding of Reggae Drumming?

A few years ago I had the opportunity to sit down with an exceptional Reggae drummer who was working on a cruise ship with me. He was the real deal. Born and raised in Jamaica and drumming for most of his life he could do things on the kit that made simple white guys like me very jealous.

During our quasi lesson he informed me that Reggae is something that is in your blood, just like Americans tend to be better when it comes to playing Swing music (his words not mine). He showed me a number of tips and tricks to get my island drumming more authentic, but I will admit Reggae has always eluded me.

Then two weeks ago I got an email from Hudson music telling me I could download Gil Sharone's Wicked Beats instructional DVD for only $15. I had to take the offer.

For you drummers who don't know who Gil Sharone is. Right after high school he became the drummer for the group Fishbone which opened a number of doors for the young musician. He has played with Blink 182, Dillinger Escape Plan, and his own group Stolen Babies. He is an active clinician and was even voted Modern Drummers #2 Most Up-And Coming Drummer in 2008. If you want to read his full bio visit Drummerworld here.

So enough about Gil and let's talk about Wicked Beats.

This is a great instructional DVD because it leads you through the development of Jamaican drumming. Gil walks you from the beginnings of the movement with the Nyabingi and Burru. This lesson is filmed with some of Reggae drumming greats whom explain the importance of Rastafarianism on the drumming style and how the sounds mimic that of nature. This really helped me to understand the underlying core concepts of the Reggae style of drumming.


From there Gil walks you through Ska and Rocksteady and how the beats change ever so slightly for each. Then he moves on to Reggae, Dancehall, 2 Tone Ska, and 3rd Wave Ska before ending with Dub. 


I was really impressed at how good of a teacher Gil Sharone is. He really helps the viewer understand where the important parts of the various Reggae style beats fall and how to make each one authentic. And he does it so simply that you catch on quite quickly.  Sometimes the best teachers are the ones very few know about.

Wicked Beats is a true "in-depth" DVD. Not only does Gil show you how to properly lay down various authentic sounding Reggae beats, but he also includes commentary from noted Reggae historian Roger Steffans who's history lesson helps the drummer understanding how the music has developed and evolved.

What I dig the most about Sharone's DVD is the fact that he brings in special guest such as  Lloyd Knibb of The Skatalites who offer insight into Reggae technique. These "true" Reggae greats offer amazing concepts that can give your drumming that real island flavor.

I will leave you with the trailer for Wicked Beats and encourage you to either buy the DVD or download it directly through Hudson Music on Demand.

Drumming Greats: Mick Fleetwood

As I weaved through traffic on Orange Blossom Trail with my windows down and music cranked up the other day I couldn't help but notice that I was getting some awkward looks from other motorists.

Now let me explain for a second. OBT, as we affectionately call it, is propagated by people who enjoy hip hop and Latin music, so when I pull up at a red light and Fleetwood Mac's Dreams is blaring from my VW sound system I guess I can understand the funny looks from other motorists sitting on their 22" rims. What these motorists don't realize is that I am a drummer, and Fleetwood Mac is backed by one of the greats in the drumming community – Mick Fleetwood.

OK, so I will admit that Mick wouldn't be a drummers first choice when it comes to inspiration. He isn't  a blazing jazz pioneer like Billy Cobham or Max Roach, he isn't a progressive superstar such as Neil Peart, or a modern day rock star such as Rich Redmond, but we should all give Mick Fleetwood his due and here's why:

1. You know a rhythm section is great when the band is named after the bassist and drummer.

Sure many fans associate Fleetwood's fame with the vocals of Stevie Nicks, but many do not know that the band started out as a blues group and was named after bassist John McVie and Mick Fleetwood. Hence the name Fleetwood Mac.

2. To be a drummer you have to have brass balls.

Part of being a great drummer is having confidence. Nothing says confidence like wearing a wedding dress for a Rolling Stone article, and Mick did just that.

3. Mick kept the band alive.

We all know of the chaos that is Fleetwood Mac. The marriages, the divorces, and all the drugs, but through it all Mick is responsible for keeping the group going. After a long hiatus Mick urged the group to get back together for a new album in 1997 called Dreams, which brought them back to the mainstream and put the original line-up back on stage thus reinventing the Fleetwood brand.

4. Showmanship.

Watch any Fleetwood video and you will see Mick making faces, dancing on the kit, and feeling the music. To be a great drummer you have to be "in the music", and for his entire career Mick has been inside the music.

5. The tick-tock.

This is what keeps Fleetwood Mac on my playlist. Sure some drummers can burn the double bass, others can swing like mad, and newbies can play at 200 plus beats per minute, but to get the audience to dance and your records to sell your music has to have a groove. When it comes to groove Mick and John created a tick-tock that is always in the pocket, on time, and infectious.

I urge all the young drummers out there to give Fleetwood Mac a listen. See what these musical pioneers do that has pushed them up the charts and put them on stages across the world. In this day of speed drumming competitions and programmed beats we often forget that when you put great musicians together you get a great product. When that band has a drummer who can keep solid time, create an infectious groove with the bassist, and perform with confidence and musicality you can survive the test of time.

Finally watch this video from their successful Dance video, even with the University of Southern California Marching band Mick keeps the groove alive.

A Great FREE Learning Resource for Drummers

During my practice routines I like to devote some time to playing with study materials that give you music without drums and a chart to follow. I have found Tommy Igoe's Grove Essentials series (you can find these great books here), and Steve Houghton's Ultimate Drumset Reading Anthology (you can check out this manual and more here) to be great resources.

But after daily practice with these books the purpose behind reading charts and playing along with the tracks looses it's value. I mean it's pretty useless to read through a chart when you know the songs inside and out because you have played them too much.

So I went on a search this morning to find some new play along material, and being a consumer of the new technology driven universe I wanted to download something as opposed to purchasing a CD and then waiting for said disc in the mail before I could practice.  Through an Internet search I came across Vic Firth's Education section of their website and was pleasantly surprised.

I have to thank the folks at Vic Firth because this is a great resource for both drummers looking to boost their game and music instructors seeking ways to efficiently pass down their craft. They have countless videos of the drumming community's best offering lessons, live footage, and their own theories on the instrument. You can download their copy of the 40 Essential Snare Drum Rudiments, although I would encourage you to get my book on that (shameless plug), along with a plethora of other resources. They even have an ongoing Podcast that keeps you up-to-date with performances of today's top drummers.

The gem I found was at their drum set play along section (you can get there here).  

This page offers countless songs with and without drums. These free online lessons cover a number of genres and each one includes music to help you work on your chart reading skills at the same time. They are all songs by today's top drummers so be prepared to be challenged during your practice routine when you connect with these bad boys. 

All in all this is a great free resource for drummers looking to up their game. I encourage you all to take a tour of Vic Firth's website and see how they can help you get better on the kit.

Say hello to your new 360 recording contract.

There is no need to beat a dead horse, but lets kick Mr. Ed around for a second.

The music industry has changed, and even if you don't like what's happening you may have to just suck it up and deal with it if you really want to be a musical icon. So here are a few facts.

The four major, soon to be three, record labels account for 88% of recorded music sales leaving just 12% to be split among the countless indie labels out there and popping up as you read this.

The major labels are responsible for this huge difference because they have the financial backing and resources needed to launch an artists career. I am not saying you can't live comfortably with an indie, or even start out with one and then move up to the big leagues. I am just saying that if you still dream of being the next Jay-Z, Madonna, or Taylor Swift you will need a major in your corner. Now here's the downside, or the upside if you actually pay attention.

All of the major labels, Sony/BMG, Universal, and Warner have instituted the notorious 360º Deal for their new artists. Now you may be able to get signed without handing them a piece to the whole pie, but it is very unlikely at this time. Many musicians are furious about this new practice, and some hold valid arguments, but for a second let's step away from what you have been told by your buddies and examine what a 360º Deal is.

Basically put, and I am sure you all know this, the 360º gives the record label a piece of your recording royalties, publishing, merchandising, touring income, endorsement deals, licensing, and whatever else you may make money on with your brand image. Notice how I said brand image instead of music.

In the past artists just forked over money from their physical recordings and in some instances publishing royalties to their label partners and got to keep all the other income associated with their business model. Now if you just read the 360º Deal as that you would scream and shout that you were getting the shaft. What many pundits leave out is what the label gives to you for that chunk of pie.

When you sign a 360º Deal with most major labels they then takeover all of the production and costs associated with every aspect of your brand. They help design, print, and distribute your merchandise. They help solicit your music to film, television and advertising companies. They help put together your tour. They even help you find sponsors. Without this type of deal you, as the artist, would need to fund these endeavors yourself, and many times that required asking your label for a loan to get each project off the ground. Now they do that for you, basically because the more they invest the more they stand to earn.

On top of funding all of the other income streams that can make you money the labels have the connections to get your new product and services to a much larger audience than if you went at it alone. They have connections in the film and advertising industry, the touring industry, the merchandising and distribution realm, and they have those connections all over the world.  So think of it like this you could do it yourself and potentially reach two million people in one geographical location in the states, or hand it over to a company that can reach 2 billion in China alone.

When Jay-Z signed his 360º Deal with Live Nation he got 775,434 shares, plus an option on an additional 500,000 with the exercise price of $13.73.  

You see they have the money and the connections to make you into that superstar you always dreamed about. But to hammer the point home I offer one more point.  If I was the head of A&R for Sony and had two bands that I wanted to add to our roster. One of them was more than willing to sign to a 360º Deal and the other demanded a typical contract, as a business person looking out for my bottom line who do you think I would sign first?

I am not condoning the 360º Deal or condemning it in any way. I am just tired of seeing all the negativity with very little about what the majors give to you in return. Remember in any true negotiation or business deal each party should feel as though they have given a little and got a little in return. And finally if you really dream about super stardom, private jets, sold out shows at Madison Square Garden and a gold plated shark tank in your mansion you may have no choice but to sign a 360º Deal so be prepared.

And finally, if you ever have the carrot dangled in front of your face GO OUT AND GET A REPUTABLE ATTORNEY who specializes in music business contract negotiation. The ambulance chaser you saw on TV can't help. You need a contract lawyer who can make the language work better for your career and save you millions in the process.

Here are some links to learn more about 360º Deals:
http://musicians.about.com/od/ah/g/360deals.htm
http://techcrunch.com/2008/11/08/360-music-deals-become-mandatory-as-labels-prepare-for-free-music/
http://www.nytimes.com/2007/11/11/arts/music/11leed.html?_r=1
http://lawyer4musicians.com/2009/03/22/you-spin-me-right-round-like-a-360-record-deal/

The Evolution of the Single

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"Those who don't know history are destined to repeat it."

                                                               ~Edmund Burke

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In the late 19th century the gramophone disc took over phonograph cylinders as the standard in recording technology.  By 1910 the 78, 10-inch shellac record became industry standard.  Technical limitations of the disc forced recording artists to tailor their work to the medium thus creating shorter songs and only releasing one or two "singles" at a time. It wasn't until the 1960's that this format changed.

In the 1940's the FCC understood that radio broadcasters would eventually run out of spots in the then used AM bandwidth.  To counteract that they forced large scale AM stations to maintain an FM channel as well.  For years these broadcasters did nothing more than duplicate the programming on both channels then In July of 1965 the FCC made another ruling that broadcasters could not duplicate programming on both FM and AM dials in major US markets.  This sent programmers searching for a cheap way to fill dead air on their FM stations. 

Luckily for these programmers a new standard record size was emerging. A 12" disc allowed artists and labels to press more than one track into the vinyl. DJ's and radio programmers realized they could fill up hours of time on their FM stations by playing these "albums" in their entirety and the idea of Album Oriented Rock was born.

Album Oriented Rock and the new FM channel changed the way in which the business of music was done. All of the sudden new recording artists had to create and entire collection of like minded songs to include on one record.  The record deal changed too to cater to this new distribution method with new artists finding themselves signing contracts tying them to three or more albums with the label. 

Now the single didn't die completely.  It was only changed from the main source of revenue into a marketing tool to get people to purchase the entire album for a heftier price tag.  Throughout the 80's this method made the record labels millions upon millions of dollars.

Then the Internet was born and consumers quickly found a way to share their music over phone lines through companies such as Napster. The problem with the new Internet delivery method was that bandwidth was low during the early days of the medium which meant that music files needed to be compressed and sent as singles to other users. 

For years the industry fought this new delivery method as fans became pirates giving away and taking music without retribution to the artists, but that's another story. To combat this problem the industry began endorsing online music storefronts such as Apple's iTunes to distribute their medium, but by the time they finally found a way to make money in the new online world the market had changed.

Underneath all of the piracy fans had developed a new taste in the acquisition of their music. They didn't want the entire album because it took up so much of their personal time to find and then download. Instead they started downloading single tracks that appealed to them from various artists. By the time Apple took over with the iPod and iTunes the market had changed. A new generation of music consumers emerged that didn't want to pay $20 for an entire album for just one track as they had done in the past. They wanted their music instantly which meant that single files were the way to go, and through their test phases with piracy and peer-to-peer sharing they wanted to create their own musical experience through customizable playlists. The market had spoken. They wanted singles again.

Once again the music industry has changed, and once again we witness the cold hard fact that history is doomed to repeat itself.  Luckily for us this time the repetition is producing larger sales numbers then we could have imagined. Unluckily those numbers are for much smaller unit prices.

Keep this in mind.  If history is due to repeat itself then that means the album should come back around. Over recent years ISP's have increased the average level of bandwidth for the end user and they have opened up new channels of distribution through smart phones, and wireless Internet delivery systems such as 3G and 4G. When it comes to price points the labels have decided to challenge Apple's huge capitalization of the market by offering cheaper prices to other retailers such as Amazon who are offering entire albums for as low as $1.99. These small facts make it possible for the fans to afford full albums once again and download them quickly thus fulfilling their needs. 

The biggest issue the labels and artists face in eventually recapitalizing on the sale of entire albums is the quality of the material they offer to the public. For the past decade the industry has shifted back to the pre-1965 single distribution method and with that they have focused on creating only one or two strong hits at a time. To truly recapitalize on the return of the full length album market the industry will have to once again fully develop and nurture artists to their fullest rounded potential so they can once again create entire albums that appeal to their fans.

For now the single once again reigns supreme. This time it isn't on a ten inch shellac disc. It's in a five by three inch phone.

The Streaming Industrial Radio Revolution

To many historians the terms Industrial Revolution is a misnomer.  Primarily because it actually took many years for our society to evolve from an agrarian based product system to a manufacturing based delivery method.  Due to that name including the term "revolution" we tend to overlook the fact that society spent many years in the middle of an unknown changing marketplace.  Families, employees, and employers did not know that eventually the introduction of steam power, railways, and the combustion engine would fuel a more advanced and wealthier society.

The same holds true in what we are facing in today's music marketplace.  The advent of the Internet has drastically altered the music delivery system and this small ripple has created a wave of change in the business the size of a tsunami.   One of the core components to the past music business marketing plan has been crushed by this wave of change.  That component is called radio.

But I am here to tell you that radio isn't dying or dead. It is only changing and with that change has adopted a new name called "streaming."

  

There seems to be a lot of arguments about the viability of Internet based streaming services such as Spotify, Pandora, and MOG.  Industry insiders claim that these services provide little, if any, revenue for artists, labels and songwriters. They have waged war on these services claiming that they steal download sales from artists and labels.  A few artists and publishers have even pulled, or threatened to pull, their content from some of these services. Most recently Sir Paul McCartney pulled his content to reportedly force consumers to download his music from online retailers such as iTunes and Amazon where he earns a larger amount in royalties. See the article here.

While this may be a great idea for an established musical icon such as Paul McCartney it isn't a wise decision for newer artists.  These services act as a new revolutionized radio model, but unlike traditional radio artists do not need to sell the gatekeepers on the idea of including their songs on the play lists.  Any artist can upload their newest tune or album to any streaming service without having to shell out huge dough in promotion fees to wine and dine programmers to be let in.

What these services offer new artists is the opportunity to engage potential fans with their music for free.  Any fan can sign-up for a free subscription to basically any streaming company and with that subscription they can seek out an artist or album they are interested in and have a no obligation listen to the music.  There is a division in the industry as to if free services produce more download sales. Billboard reports that they do not.  See the article here.  Streaming service Last.fm reports otherwise. See their article here. Regardless of what industry insiders report these streaming services do offer something to new artists when it comes to revenue.

I myself am an active music downloader whom normally uses iTunes, but over the past few years I have become discouraged having to shell of $1.29 for a new tune or $9.99 for a new album just to find out that I didn't like the song or tracks 4, 6, 9, and 10.  It has cost me hundreds in what I consider wasted downloads.  Then last year I decided to try a streaming service on my iPhone.  I downloaded the MOG app and subscribed for their monthly $10 subscription that lets me download tunes to my device for as long as I keep paying my subscription. Since then I have explored many new artists and dozens of new albums.  Thanks to the service I realized how much I liked Adele's 21 and was happy to buy the entire album from iTunes for $10.99. More importantly I was open up to newer artists such as Trivium, Lana Del Ray, and Nada Surf among many others whom I would have avoided dropping $1.29 a track to find out if I liked them or not.  I am one streaming user whom has checked out over 150 new artists thanks to my MOG account. If their music is good and appeals to me chances are I will buy their downloads, go to their shows, and purchase some of their merchandise.  I would have never been opened up to these unknown names without my streaming account. Through the new industrialized radio I have received added benefits and the artists have received added benefits.  Isn't that a core tenement in business? Think about my Adele experience.  She got a streaming royalty from me listening to her album on MOG and a mechanical royalty when I downloaded the album. Before my MOG account she may have just got a royalty on one or two tunes, but thanks to the new radio I was able to experience her entire works without obligation and encouraged to buy her entire album. Your welcome Adele and Columbia Records.

I think it is imperative that those in the industry embrace streaming services. Even if they do not recognize them as the new radio.  They help curb piracy, open up potential fans to new artists, and add more pennies into the artists royalty accounts. To succeed this industry must not challenge Eli's cotton gin, but rather embrace its potential to change the world.

Go Get Igoe's Groove Essentials

This week I had to prep for an audition.  The prerequisites called for a versatile drummer whom could play various styles of music.  Now I had just gotten off the road and didn’t have the comforts of home, a place to practice, or access to my library of drumming books.  I needed to figure something out so I got to work.  I found a friend with a spot to practice so I could get some wood shedding in, but I still needed something to motivate me to practice. 

Now when I am at home in the comforts of my own studio with access to my own library of materials I often find myself working with a great multi-style play along series by legendary drummer Tommy Igoe called Groove Essentials.  I have purchased series 1.0 on DVD and followed up with series 2.0’s play along set and have been quite impressed by this master drummer’s methodology so I made my way to a local music store to find Groove Essentials 1.0 play along series and was amazed that the drum department employee had no idea about this book or this amazing drummer.

For all of you who don’t know Tommy Igoe was a child drumming phenom who toured with The Glenn Miller Orchestra at the age of 18.  From there he landed in New York were his career really took off becoming an in demand session drummer and hitting the road with a roster of legendary artists from Blood Sweat and Tears to Stanley Jordan and Art Garfunkel.

In 1997 Igoe was asked to create the drum book for the Broadway musical version of Disney’s The Lion King.  His charts converted world and African Rhythms into a pop style for the drum set and have become the standard workbook for a slue of drummer who play the show in New York and around the world.  Soon after that success Igoe teamed up with Vic Firth to create a study manual that opens up drummers to the various styles of world music and to adapt those styles to the drum set.  Together they created Groove Essentials 1.0 that teaches drummers how to play a number of core rhythms on the drum set from rock to funk, to jazz, salsa, calypso, reggae, samba, bossa nova, and so much more.  According to Igoe’s website “This groundbreaking work has been credited with influencing more teachers and educators than any educational publication of the last 50 years.”  The book has won numerous awards in publications such as Modern Drummer Magazine and has become a staple in drum set instruction practices and universities across the U.S.  The book was so successful that a follow was introduced quickly after entitled Groove Essentials 2.0 and itself became it’s own drum set education success.

The included poster that outlines 47 various styles of music.

The packages include a great poster, DVD, play along CD and workbook full of charts.

What is unique about Igoe series is the various packages the lessons come in.  There is a DVD that includes a beautiful poster with the transcribed rhythm notations of the various styles.  On the DVD students can watch as Igoe picks apart each style and demonstrates each rhythm at varying tempos.  The more courageous can purchase the DVD and Play along package that includes written charts for each style minus the drums so the student can attempt to play along to a number of different songs in each style.  

All together this set includes six hours of play along material, and printed charts that represent what a drummer should expect in the real world, minus the bad notations by previous drummers that haven’t been erased.  The charts help you understand how to read music while you work through the demanding selection of rhythms with the play along real band.

Groove Essentials 2.0 goes deeper into various drumming styles and offers the same packages for the student.

Groove Essentials 2.0 is offered in the same packages, but goes deeper into the drum set style dictionary with 53 brand new grooves including jazz brush work, interesting rock and funk styles, less known world rhythms, a section on odd meters such as 5/4, 7/8, and 9/8, and it’s own selection of “World Tour” charts (Groove 1.0 has these also) that are a commanding workout in which the drummer must play to music that changes through various styles. 

For the advanced drummer the “World Tours” found in both the 1.0 and 2.0 version is a unique challenge.  The pieces range from 15 to twenty plus minutes and require the drummer to read and interpret the accompanying charts as the student plays along to a killer band without the drums.  During the music the drummer must change tempos and styles while leading the band on fills, accents, and changing genres of music.  They test your ability to stay focused, move from one style to another, read and interpret charts, and keep great time throughout the process.   

I strongly suggest that any serious drummer look into adding both of these systems to your learning library.  They are available at any brick and mortar or online music store as well as directly through Tommy’s site at http://www.tommyigoe.com/store.htm.  They have helped me elevate my playing and my understanding of the world of music and I am sure they can do the same for you.

Your most important musical product.

Ok, so now that I am a few months away from graduating with my Bachelor's Degree in Music Business Management it seems that so many of my friends, and even people I didn't know, are after for me on advice to launch their musical careers.  In listening to them I am overwhelmed at how many of these green musicians are still under the impression that a huge musical industry professional will show up to their next show, wave their magical record deal wand and turn them into the next Adele or Lady Gaga overnight.

I hate to be the bearer of bad news guys, but this just isn't going to happen.  So pack up your delusions of grandeur and think about what you really want from your music.  If you want to be the next international jet setting superstar that's cool, but it may also be impossible.

So how do you know if you have what it takes to get the bowl of M&M's minus all the brown ones at your next show at Madison Square Garden?  Well the answer is quite simple.  It all starts with your music.

I am often overwhelmed at how little importance young artists put into their music.  I have heard everything from "we have an amazing show, the lead singer eats a baby kangaroo on stage" or "the label will give us this big name producer who will make our music into the next big radio, or better yet Spotify, hit.  Where is my red buzzer, or better yet my hoop to pull these idiots off of their pedestals so I can scream Trump's catch phrase "your fired".  Honestly if you think that your music comes second in your career I hope you enjoy salting fries at McDonalds.

Remember this the music business is just that a business and the central point to any business is a competitive product and/or service.  I mean Henry Ford didn't start selling his automobiles to the public in hopes that someone would come along and build them for him after he made a number of sales.  No he had the cars first and then marketed his product to the marketplace.  The music industry is no different.

First and foremost your music is going to define who you are in this huge market.  According to www.quora.com there are upwards of 15-20 million bands on the Internet. And when it comes to live shows Martin Atkins in his book "Tour Smart" reports that there is close to 2940 bands performing each week in L.A., and 1235 in New York, and that's only two markets.  The U.S. is a HUGE country, and we are just a small part of the music world on this planet.  Do you still think that the head of A&R for Atlantic Records is going to show-up at your show in bum fuck New Hampshire and sign you to a multi-million dollar deal.  If you still think yes stand there for a moment while I grab my hook.

The first thing I tell young bands is "take it slow".  Your music is so vital to your success so you should be willing to woodshed the group for weeks and really craft your songs.  Then pick five or six gems and practice them some more.  When you can play through those tunes perfectly your next step is to find a decent studio, and by decent I don't mean your buddy with his Radio Shack recording set-up.  In today's market there are dozens of people with quality home studios who can record your demo.  Make sure they know what they are doing, after all this is your business "product" and it needs to sound as good as it possibly can.  Why?  Because we are going to use that as center point to your marketing, touring, and promotion strategy.  And for Christ's sake after your done recording get that CD professionally mastered. Spend the money and you will be very glad you did.  Unmastered CD's, even those mastered by some dude with a Dell laptop and some free program, get tossed in the garbage by more radio stations, promoters, and label executives than I care to research right now.

So now you heeded my advice and you have a killer demo of your tunes.  Here is how that one little product can change your career.

Your "quality" demo can be uploaded to a digital ramp service provider like ReverbNation or TuneCore to get your tunes in the digital music stores such as iTunes, Rhapsody, and Amazon along with the multitude of streaming services out there.  Or it can be used to press CD's to sell at your shows, to your friends, or your parents.  I hope your parents are buying your music, or at least taking the cost off of the food and rent you currently owe them among other things. Now you have created a product that can sell and earn you some cash, but there is more to it than that.

Your demo will be used to get clubs and promoters to book you at shows.  Who do you think they are going to hire the group that calls them and says: "Hey dude we are the next Metallica. We don't have a CD for your to hear, but trust us we are awesome the drummer has the most expensive kit you can get" or the band who is able to direct them to their music on iTunes, or even send the owner a copy of the CD?  There you go that "quality" demo can help you land shows.

Ok, so now a few club owners bit and you have some gigs.  With your music available you can use it to promote that show with journalists, radio dudes, and possible fans.  The more people you get in that door the better and the best way to get them there is to showcase how great your music is.

Once the show starts you now have a room of fifty people exited to hear you.  With music available you can sell them CD's or hand out free stickers that push them to your website where they can buy or download that music for free.  You can even give away discs to people in the audience who traveled the farthest to your show or street team members who hung posters promoting the event.  Basically your music can be used to build your fan base and as a sales point at the same time.  You need good music to do that.  You need a good product.

Then down the road you are playing to 400 people a night.  Your website and Facebook page is jammed with thousands of fans and "like" comments.  All the sudden you are on a labels radar and they sneak into your next performance.  Like what they hear and offer you a deal.  It is now your choice to accept or tell them to fuck off, because you are doing just fine on your own.  I suggest you sign, but that's another blog.

The point is this I have never heard of a label signing a band without first hearing their music.  Sure they have created bands out of the blue like NSYNC and 98º, but they knew that these cats could sing and perform before they invested.  The labels understand that this is a business and at the core of their business model is music.  If you call them and tell them how great you are they won't care.  You have to show them how great you are which means you must show them that you can connect with fans and make them buy your music.  How can you do that if you never recorded a demo?

I will end this blog with a great point to hammer home that demonstrates how important good music is. One of my favorite groups is The Dave Matthews Band.  Their music was so good that a local bar owner named Coran Capshaw sold his business to manage them band.  In an interview he stated that the biggest factor in his decision was the quality of the group's music.  Because the group had such great music they peaked the interest of one of the best managers to walk this planet.  This manager helped them sell close to 40 million records worldwide, win a Grammy, and sell out some of the biggest venues on the planet.  As Capshaw saw it is all about the music, your product, in this business.  Why rush creating that product?  Why try to sell someone a bridge you do not own?

The story behind the Heel Toe Technique

I was on a road trip from Orlando to Tampa with my sister and we were skipping through radio stations trying to find something to entertain our ears.  After about thirty-five minutes of skipping through song after song, genre after genre we landed on the old classic “One” by Metallica.  Very few songs in the world force me into air guitar mode, but within minutes I was shredding away with Kirk.  My shredding session quickly stopped when the song neared the end and Lars kicked into that iconic double bass rhythm that acts as a foundation for Hetfield’s poetic verse:

           

            Darkness imprisoning me

All that I see

Absolute horror

I cannot live

I cannot die

Trapped in myself

Body my holding cell…

Now in my opinion Lars’ double bass playing ushered in a new dimension to the drum set; the idea of using double bass as a core component in the drumming structure of a song.  Sure the idea was already out there.  I mean Slayer’s Dave Lombardo was killing the double bass as were drummers from other 80’s metal groups such Iron Maiden and Megadeth, but for some reason Lars’ use of double bass in “One” quickly had young drummers around the planet seeking out a second bas drum, or at the very least a double bas pedal.  Today double bass has become a basic component to any drum kit and even icons such as Steve Gadd have jumped on the bandwagon.  

I don’t want to burst any metal bubbles out there, but double bass drumming has been around for a very long time.  Sure Keith Moon and Bonham used this type of set-up.  So have Billy Cobham and Tony Williams, but we can go back even further.  Take the late Louie Bellson who became renowned for using two bass drums in his big band set-up.  I like to cite a story about my drumming icon Buddy Rich to hammer the point.

In one of Buddy’s legendary rages he punched a wall and injured his hand while on a tour with his big band.  The injury was so bad he had to wear a brace and his manager was concerned that the superstar wouldn’t be able to play a big gig at the Apollo Theater in Harlem.  Buddy wouldn’t give up so easy.  He called up Ludwig and had them deliver a second bass drum.  That evening with no double bass training he played the show minus one hand and one extra foot.  The crowd didn’t even know what was happening until he took his final bow and they realized he was in a cast.  Many thought it was a marketing trick, but it wasn't. 

For all you young double bass drummers out there I want you to consider how much time you have put into playing a double bass kit.  I know it has taken me lots of woodshed hours to get proficient at the craft.  So why could Buddy do it almost instantly with prolific results?

The answer lies in the heel toe technique.  And contrary to what us drummers may believe this isn’t a drumming technique, but one borrowed from the tap dancing world.  Yes you heard me right.  The tap dancing world. 

It turns out that Buddy started his life as a young vaudeville star called “Traps, the drumming wonder.”  In that training he was taught the stage performance techniques of the day including tap dancing.  One of tap dancing's core moves is a technique called "The Flap Heel Toe Combination".  Take a look at this tap dancing instructional video and you will see our teacher explaining the technique.  Listen as she get going.  Can you hear the double bass?

Ok now take a look at this video by Derrick Pope.  I find him to be a very cool online resource and his technique is spot on.  The Heel Toe Technique starts at about 4:23.  

Do you see the similarities in methods.  I know the drummer isn't moving around, but watch their feet and how they make that same rocking motion with their foot as you should already be doing with your hands when you do a single stroke roll or triplet with The Moeller Technique.  

The unique thing about the Heel Toe Technique is that when it is mastered you can do it forever without the burning you may get from the standards heel down or heel up technique.  Your double bass playing will become more fluid, and like Buddy you will be able to dance on your kit.  I encourage you to check out the technique and see how it can elevate your drumming. 

Now just to prove that drummers can tap dance take a look at this video of legendary drummer Roy Haynes and Jack Dejohnette having a tap off.

One of the first lessons I learned at Berklee was that drumming is all about the dance, and as Buddy, Jack, and Roy have shown us the great ones have no problem getting down.  Is this a secret to their greatness?