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We’ve done a handful of shows with Georgia native, Corey Smith over the years, and Saturday’s performance at the packed Verizon Wireless Amphitheater in Alpharetta, Georgia was another blockbuster. It was a warm summer day when we pulled into the backstage area just after noon, although not quite as over-the-top as the heat and humidity we’ve been experiencing in Nashville this summer. Who would have thought that we would have to travel further south to experience a cooler day! We loaded in and sound checked just after 2 PM and then chilled for a couple of hours while we waited for showtime.
A little while later it was catering, showers, and a quick changeover after opener, Rachel Farley’s set. We hit the stage hard and fast at 7:45, the crowd quickly showing some love for Rhett and band. 40 minutes later, after blazing through a mixture of Rhett’s classic hits and some of his newer charttoppers, and we were putting the final touches on our closer, Kiss My Country Ass, the crowd now on its feet and singing along. The stagehands helped us strike our gear, and it was packed up under the bus in minutes. The guys hung out by the bus enjoying a few cold ones while Corey finished out the night.
Over the years I’ve played many amphitheaters and concert halls across the land, and the Verizon Wireless Amphitheater in Alpharetta is perhaps one of the nicest of them all. Kelly took some great photos throughout the day and during the show. Here’s a few to give you a taste. (Nashville photographer, Dan Harr, also photographed the night and was kind enough to donate some photos, a few of which are also shown below. Dan’s photos are credited accordingly). Left click on a photo to view it full size:
I can’t tell you how excited we are to be finally about to embark on our first trip to our native homeland of New England in seven years. I’m sorry we haven’t gotten back sooner, it’s not because we haven’t wanted to, it just seems that whenever we’ve had the time we didn’t have the money (we call this Nashville winter), and when we’ve had the money, we didn’t have the time (Nashville summer). So this year, with my 25th high school reunion taking place at the end of July, we decided this was the perfect excuse we needed to block out a week in the middle of the summer and pay our old friends a visit.
Somewhere in the middle of planning this trip I got the idea to do a clinic at “The Music Workshop,” a music store in Salem, NH that I used to frequent in my younger days. My idea was that this would be a great way to share some of my Nashville experiences with my peers in New England, while, of course, promoting my new book “The Nashville Musician’s Survival Guide.” I’m not sure how this happened, but before I knew it, I was booked at four different workshops throughout New England (some of you may have noticed my recent series of Facebook event invitations). With all this activity evolving I thought it would be cool to throw in a special show with some of my musical comrades from back in the day, and this has led to the Eric Normand and Friends Reunion Concert at Wally’s Pub on Hampton Beach, on Wednesday, August 3rd at 8:00 PM.
There is a complete listing of all these workshops and events with addresses and weblinks on the new events page of my survival guide website. Here is the longhand version plus some info that’s not on the website:
Wednesday, July 27, 6:00 – 8:00 PM
The Nashville Musician’s Survival Guide Workshop 
Ralph’s House of Tone, Dover, NH
During this workshop I will talk about what it has been like to work as a “hired gun” in the Nashville music scene, what it’s like to work on a national level tour, and some of the key differences and similarities between being a working musician in New England versus Nashville. There will also be a “Nashville guitar rig and style demonstration” and question and answer period followed by a book signing immediately afterwards.
Jam at the Station House in Dover
After the workshop, (which is free to the public) I will be attending a jam at The Station House Restaurant and Pub right down the street. The Station House usually has a jam on Thursdays, but when I contacted my old friend, Rick Landry, inquiring about any area jams on Wednesdays, he decided to put together this special jam just for this occasion, and I must say that I am quite honored. This jam will serve to be a kind of after party for the workshop and should be a great chance to catch up with some old friends and share a little music. Thanks Rick!
Thursday, July 28, 6:00 – 8:00 PM
The Nashville Musician’s Survival Guide Workshop
Buckdancer’s Choice, Portland, ME
This workshop will be like the one in Dover, only in Portland (also a free event). Before our move to Nashville in 2002, Kelly and I lived in Kennebunk, Maine, and at that time I played many shows throughout southern Maine with my band, Electric Blue. One highpoint during that period was our regular Sunday night jams at Chancery Lane in Sanford, ME, a truly magical musical moment that occurred weekly, and one that gave birth to many friendships and even a couple of bands. We hope to see some familiar faces in Portland on this night.
Monday, August 1, 6:00 – 8:00 PM
Music Skills for Life and Rhythm Section Workshop
Music Maker’s, Hampton, NH
This multifaceted workshop will be a little different than the previous two, and while I will share some of my Nashville experiences here as well, I will also spend
some time talking about some practical aspects about being a lifelong musician. The second half of this clinic will be an “interactive rhythm section workshop,” during which students will have the option to explore some fundamental basics of rhythm section performance with me and Music Makers instructors, Mark Davenport and Tom Martin. Music Maker’s is a seacoast area music school that offers private lessons on a wide range of instruments and the place in which I first began teaching guitar in the mid-90s. I’m excited to be returning to share some of what I have learned since that time with their next generation of students. This event is open to the public: cost: $20 per person – $15 for current Music Maker’s students.
Jam night at Whippersnappers in Londonderry, NH
After the workshop, we are planning on attending the Monday night jam at Whippersnappers in Londonderry, NH, hosted by Gardner Berry of Mama Kicks. I used to jam with Gardner and other members of Mama Kicks back in the late 80’s/early 90’s when he hosted a Sunday night jam at Classics in Manchester, one of my first jam night experiences. Should be a lot of fun so come on out!
Tuesday, August 2, 7:00 – 9:00 PM
The Nashville Musician’s Survival Guide Workshop
The Music Workshop, Salem, NH
This will be the final workshop of this trip and similar to my clinics in Dover and Portland the week before. Salem used to be a big part of my stomping grounds back in the day and I used to frequent the Music Workshop regularly, constantly “experimenting” with new music gear, occasionally buying some. I also used to perform regularly at the old LJ’s in the Rockingham Mall, remember that place?
Blues Jam at the Roma in Haverhill, MA
After this workshop we are planning on attending a blues jam at The Roma in Haverhill, MA. My good friend and drummer extraordinaire, John Medeiros is part of the host band at this jam (John is also a former member of Electric Blue and will be part of my core band at Wally’s on the third.)
Wednesday, August 3, 8:00 PM – 11:00 PM
Eric Normand and Friends Reunion Concert
Wally’s Pub, Hampton, NH
This will be the last stop of our New England book tour/vacation and a very special night of music and reconnecting with old friends. It’s been seven years since we last set foot on Hampton Beach, and more than ten since I last performed their regularly. When we first started planning this trip I had the idea about doing a reunion concert of sorts and I called up and presented the idea to my old friend, Kenny Gaudet from The Bars, who fast became instrumental in making this happen. The first set will consist of me on vocals and guitar, John Medeiros on drums, Keith Foley on bass, and some friends from seacoast area jam band, Superfrog – Charles Cormier on guitar and 
Adam Vinciguerra on percussion. A little later into the night there will be a brief reunion of my old band “Shockwave” with Doug Hinton on drums, Mark Gagnon on bass, and Keith Bowen on vocals (also possibly Brandon Lepere). Other guests will include Kenny Gaudet, Devin Cordero from Last Laugh, and possibly a partial “Jet City” reunion.
This night will mark the end of our week in New England and we are really looking forward to reconnecting with so many of our old friends and musician buddies. We are hoping to make this reunion concert an annual event, so if you like this idea at all, please come out and show some support. And for anyone who is interested in purchasing my new book, this will be your last chance before we head out of town, so if you have it in your heart to help us out with a little gas money for the ride home, pick one up, they’re only $20.
While we will be leaving Thursday morning to rejoin the Rhett Akins tour for shows in Ohio and Chicago, we will be back, and next time we won’t wait seven years! In the meantime, go ahead and make some plans to come out to the Wally’s show and a workshop or two, we would love to see you all again! See y’all real soon!
Even though summer hadn’t yet officially started, it sure felt like it when we pulled into Ridge Ferry Park in Rome, Georgia last Saturday to play at the fifth annual ‘Rome River Jam.’ It was just before noon and the temperature was already approaching 95°, the air thick with humidity. Yes, it was “fixin’ to be a hot one” as we would say in these parts, and that would be okay for this multiband festival.
We parked our bus in the fenced-off backstage area next to headliner, Darius Rucker‘s three buses and I stepped out to meet the stage manager and check out the grounds. With five acts on this bill there would be no sound check for us on this day, just a line check and monitor check immediately prior to our set – what is commonly referred to in the touring industry as “throw and go.” Still, there was work to be done so I got busy.
Under my direction, the stagehands loaded in our gear to one of the “sound wings” adjacent to the main stage, and our merch to the merchandise tent. I went on a mission to commandeer our “bus stock,” which, upon its arrival a short while later, was quickly devoured by our band and crew for lunch. After icing down some beverages on the bus for later, I had a runner take us over to the hotel for showers and a brief rest before our late afternoon performance.
Typically, I use this down time to check and respond to e-mails, return phone calls, and maybe squeeze in a quick nap before showering and returning to the venue. On this day, however, I did something I rarely do in hotel rooms on the road – I watched TV. Upon turning on the TV, the reality show “Pawn Stars” happened to be airing, so I gave it a chance. I would probably blow right by a show like this if scrolling through the channels at home, but for some reason, I found myself drawn in. The show was actually quite interesting, and at points, funny as hell.
A little while later we were all back at the concert site, and the first artist, Sam Hunt, was performing his set as the Park began to fill up. We began to hear about some inclement weather possibly moving in, the worst of it predicted to hit around 5:00 PM, which of course happened to be right smack in the middle of the set change prior to our performance. The local band playing just prior to our set, “Kneckdown” (which incidentally featured the events promoter, Jay Schell, on lead vocals), finished at about 4:45 and we began our set up. About 15 minutes later, almost as if on cue, the weather began to turn nasty. The wind picked up, the rain began to come down, and a portion of the crowd that had already grown to around 2500 ran for cover.
Fortunately, our stage had a pretty solid roof that extended past the edges of the stage, and this kept us and the gear dry, but it was still a frightening storm. The storm was packing wind gusts of up to 50 mph and was also accompanied by intense lightning, which was visible from the stage. I learned later that a tree fell on the adjacent property, seriously injuring two people who had to be rushed to the hospital. Resisting pressure from the stage manager and production company owner to start our set, we waited until the lightning had completely stopped to kick it off.
A few stressful minutes later the storm had passed, and the air seemed quite a bit cooler as we were now on the backside of a front that 
had moved through. After a brief introduction from the local DJ we were off and running. Despite the rocky changeover, we were off to a good start, and the crowd quickly piled back into the main area in front of the stage. Rhett was in a good mood, the band was playing great, and the fans got right into it. By the peak of our set the crowd had swelled to around 4000, many whom were singing along with some of Rhett’s latest songwriting successes, one of which was “Honeybee,” Blake Shelton‘s recent number one smash. We ended our 70 minute set with the anthem “Kiss My Country Ass,” and the crowd roared with approval.
One of the cool things about playing festivals is the interaction between musicians and crew members from different tours. On this day I met Andrew, the merchandise person for country artist, David Nail; and Patrick, the fiddle player for Darius Rucker. Scott, our other guitarist, got to meet Darius and have a photo taken with him. Another cool thing about playing festivals is getting to hear these other artists and bands, and on this day, all the bands played great! It was a great concert, fun was had by all, and we got real lucky that the nasty storm didn’t end the day early for everybody. See you next time Rome!
I would like to thank local photographer, Andy Butler, for donating the use of these pictures. – Butler Photo/Cartersville Ga
As some of you might know, there’s a lot going on in Nashville this week. It’s that time of year again where 250,000 country music fans converge on the city for “CMA Music Fest Week” (formally known as Fanfare). Tourists, country music fans, and curiosity seekers from all over the globe will fill the streets, shops, hotels, restaurants, nightclubs and concert halls, and while this can make getting around a little sticky for the locals, it is truly an exciting week for Music City, not to mention good for the local economy. This year, I am fortunate to play my own part in these festivities.
Thursday, June 9 from 11 AM – 2 PM I will be doing a book signing at the Charlie Daniels Museum on Second Avenue in downtown
Nashville (between the Hard Rock Café and the Wildhorse Saloon.) This unique museum/gift shop began selling my book last week at which time I was fortunate to meet the museum’s owner, Bud Messer, who requested I come back and do and in-store signing during Fanfare. Bud is a great guy and I am honored to receive this invitation from such a prestigious institution, not to mention the fact that they are now selling my book. (The Ernest Tubb Record Shop on Broadway is also now selling my book.)
This Saturday, June 11 my band will be performing at The Fillin’ Station in Kingston Springs. The fun starts at 7 PM, and if the weather is good (which it looks like it will be), the outdoor patio will be open. This week the band will consist of me on vocals and guitar, Nick “Shaggy Bag” Forchione on drums, Tom Good on bass, and special guest Patrick Weikenand (formerly of the band “War”) on harp and beer slinging. This club is a one-of-a-kind experience, so if you’ve never been, you owe it to yourself to check it out. (no cover.)
Monday, June 13 I will be giving my first talk on the book when I host “The Nashville Musician’s Survival Guide Workshop” at Corky’s Ribs & BBQ, 100 Franklin Road, Brentwood, TN 37027. This luncheon will be sponsored by “Indie Connect” and held between 11:30 AM and 1:30 PM. Cost $10.00. This presentation will be somewhat informal and there will be a lot of questions and answers, networking and group interaction.
Other than that, it’s been hot as hell in middle Tennessee for the past month, and we’ve had over 10 straight days of 90° plus heat with no end in sight. Stay on the lookout for heat and poor air-quality advisories.
So that’s it for now, if you’re around, please stop in to one of my events or gigs and say hi.
This past week in Nashville brought some new experiences to the table for me, and today I would like to share a few quick thoughts on these events.
Indie Connect and the “New to Nashville” Monthly Meeting
There is a Nashville-based music industry organization called “Indie Connect,” and once a month they have a “New to Nashville” meeting at The Red Rooster. I first discovered this organization last year when I stumbled across their website, a fairly elaborate site with all sorts of interesting and useful articles. Upon signing up for their newsletter I began to receive notifications about different meetings and workshops held monthly, themes ranging from “New to Nashville” to Songwriting, and “Singing in the Studio ” to PR Campaigns. While I’m certainly not new to Nashville, I have wanted to check out these meetings for a while as I have been asked to be a guest speaker at one of their luncheons next month.
The meeting, hosted by longtime Nashville songwriter Marc-Allen Barnette, was very laid back and began with each person in attendance sharing a little bit about their background, as well as their Nashville goals. After the introductions Marc began sharing his thoughts and views about being a songwriter in Nashville as well as some other perspectives about the scene. Several valid points were made regarding songwriter nights.
- Most of the accompaniment at the songwriter nights is done with acoustic guitar, so if you are a songwriter and plan on participating, it is to your benefit to be able to play acoustic guitar (or bring someone else who can).
- Most songwriters in Nashville write with co-writers, as cowriting expands the number of contacts who are connected to their songs.
- Support the songwriting community. If you’re performing at a writers round, stick around after your song is done to show support for the other writers.
After hearing some of us Marc’s ideas and advice, a back-and-forth conversation ensued with everybody participating and offering their thoughts and ideas. Also in attendance was Vinny Ribas, the founder of Indie Connect, and he also interjected his thoughts on different subjects. All in all the meeting was up tempo and informative and certainly worth checking out if you are “New to Nashville.”
Derek St. Holmes at The Red Rooster
Have you ever listened to the music of Ted Nugent? I have. I used to love hearing his song “Stranglehold” as it blared out of FM radios
during my teenage years, back in the 80s. As distinctive as the guitar parts are to that song, the vocals are almost even more mesmerizing – a high and emotive rock and roll lyric belted out with power and conviction, by a distinctive and colorful voice. So maybe that’s why during our “New to Nashville” meeting on the outside patio of The Red Rooster last week it became difficult to focus on the discussion after the band began playing. Little did I know at that moment that the voice in the band that was booming out onto the patio was none other than that of Ted’s original lead singer, Derek St. Holmes. As I would later learn after the meeting let out, Derek lives in Nashville, and when he’s not on the road with Nugent, he can be found performing on Tuesday nights from 7 to 9 at The Red Rooster on Demonbreun Street.
Even though I couldn’t see the band from where we were sitting on the club’s outside patio, I knew they were quite good from the moment they began playing. By the time they performed a blistering version of Jimi Hendrix’s “Red House” midway through the set it was obvious that this was not your typical Nashville bar-band. As I was firmly committed to the conversations at hand, I did my best to not be sidetracked by the music. But by the time they played the last song of their first set, which just happened to be the anthem “Stranglehold,” it was almost impossible to not become completely drawn in. This music is rock ‘n roll at its finest, and their performance was fit for a stadium crowd, let alone the 30 or 40 Nashvillians that had gathered on this cool spring night!
I left during their break as I already had commitments elsewhere, but as this is a regular Tuesday outing for this rock ‘n roll legend and his band, I’ll be back for sure.
After Thought:
Later on the next day, another significance of the Derek St. Holmes show occurred to me. The folks at this “New to Nashville” meeting were just that, new to Nashville. And the one thing most Nashville newcomers are lacking is contacts. The only reason I knew Derek St. Holmes was the performer inside was because I asked, mostly out of curiosity because it was so good. There were obviously some heavy hitters in his band too, all whom are likely connected to many other important avenues within the Nashville music industry and beyond. I recognized some players that work for national acts in the audience as well.
I guess it just goes to show that you never know who you might see or hear in a Nashville club. Next time you hear some great music by an unsuspecting bar band, stick around and listen a little, maybe chat with a few folks on the break. You never know what you might learn or hear. If you’re lucky, you might even hear “Stranglehold!”
Our concert last Saturday in Speedwell, Tennessee was a wash, and not because of the rain. We arrived on site to this would-be country Woodstock a little after noon, and from the moment I stepped off the bus I knew something wasn’t quite right. You could just sense and feel the tension in the air.
Everything was in place for this mega-country bash – a great lineup featuring Rhett Akins, Jimmie Van Zant, Confederate Railroad,Bush Hawg, Matt Stillwell, and several others; a great concert stage and production; vendors; campsites – yes, everything was in place, except for the people. Somehow, despite considerable advertising, there were only 100 or so folks scattered across the giant field in front of the stage on this second day of the festival.
At this point we still remained optimistic as there have been plenty of shows that started out this way and still turned out okay. But our
optimism would begin to fade quickly. As I began walking around looking for the promoter’s office, I started overhearing conversations that the festival was falling apart. Somebody said that the promoter was running out of money and that “the beer truck and the Porta Potty Company were pulling out.” Obviously, this wasn’t very encouraging news.
A few minutes later I found the promoter’s office and was greeted by the contact with whom I had advanced the show. When I asked him how it was going his reply was honest, but grim.
“Not good at all. The promoter is out of money and I’m not sure how this will all go down.”
“I suppose this means we won’t be able to get our bus stock?” I replied, half jokingly.
He responded, “That was one of the first red flags. When I told him I needed $300 to get bus stock for the different bands, he said he didn’t have it.”
“Ookaaay. I guess I should talk to him so we can figure out what we’re doing. ” I replied, realizing that if a three day festival was broke at noon on Saturday, and already losing their beer truck, that things could get ugly.
I walked into the next room to speak to the promoter, and saw that he was in a meeting with a couple of other event coordinators and three or four state police. Realizing this was not a good moment to approach him, I returned to the bus to tell Rhett and the gang of the situation. No sooner had I opened the bus door when a tall fellow wearing an orange “security shirt,” and sporting some really bad teeth, poked his head in and yelled into the front lounge where Rhett was sitting.
“Is that him, is that Rhett Atkins?” he yelled, incorrectly pronouncing Rhett’s last name.
“No, I’m Ricky Nelson.” replied Rhett playfully.
The fellows reply was astonishing, “You ain’t nothin’ to me, you’re just another feather in my bird!”
Quickly ushering him out the door, I assumed he was just really stupid and socially inept, or that maybe perhaps he was a meth-head.
A few minutes later I walked back to the promoter’s office to find out about getting some food. I asked if we could get some meal tickets for catering and if we could at least get a case of water and a case of beer. I was presented with meal tickets which were good for some “ham sandwiches” and chips, and I was also presented with an interesting box of bus stock consisting of:
1 case of spring water
1 open case of Bud Light (with about 8 beers in it)
1 jar of peanut butter
1 bag of corn chips
1 open bag of potato chips (about half full)
“Thanks, I guess somebody was already hungry.” I said, amazed that we got anything at all.
A little while later I was able to finally speak to the promoter who informed me that it was our option to play, and that he might be able to pay us “some money” but that it was unlikely he would be able to pay us our entire fee, and that this would be the case for the other bands as well. I told him I would check with the boss and get back to him.
After relaying all this to Rhett, he decided that in spite of not getting paid that we might as well play anyway, as we were already there. On the way back to the promoter’s office to relay this message some other folks who were hanging around backstage told me that they had heard the Porta Potties would be pulled out by seven o’clock, at which point the police or Board of Health would shut down the festival. When I asked one of the state troopers if he had heard anything like this, his reply was “yes, I have heard those rumors too, but I can’t confirm anything. I can tell you that we are pulling out our extraction team and that the remaining officers will be stationed on the perimeter.” I wasn’t entirely sure of this significance, but it sure didn’t sound good.
As I approached the promoter’s office, I could hear a loud argument. In front of the main entrance stood a big, tall state trooper, his arms folded in front in an intimidating power stance. As I got closer I heard several event workers demanding to see the promoter about their pay, as they had apparently heard rumors that they were going to get stiffed.
“I need to see him now!” demanded an angry worker.
“I’m sorry sir, nobody can see him right now.” the trooper stated firmly. After another minute of yelling and arguing by the crowd of 8 or so, the trooper restated his position – “Nobody is going to see him right now, I’m just doing my job and trying to make sure that nobody gets hurt or shot!”
Over my seven years of working as a road manager, this was the first time I had ever heard or seen anything quite like this, and the angry mob-like scene was enough to send me scurrying back to the bus. Along the way back to the bus a drenching rain set in, and we overheard more angry workers with comments about people getting shot. This would-be country Woodstock was beginning to look more like Altamont – only without the masses. Despite Rhett’s willingness to play for free, in light of the most recent developments, we decided it was best to head on down the road. I’ll have to check, but I’m pretty sure that getting shot is not one of the requirements in our rider.
After our hasty retreat we arrived safely back to our hotel, the Hampton Inn in Carryville, TN. A little while later, Nick, our drummer, received a text from one of his friends who was playing in another band at the festival – something to the effect of “We’re getting out of here before the shooting starts!”
From what we could tell, there were no riots and nobody got shot at the festival. But still, the whole situation was quite unnerving and unfortunate. Obviously, several other bands besides us were leaving town without their pay, as were many vendors and event workers. The festival goers who were in attendance were ultimately shortchanged. And the promoter obviously lost his shirt, not to mention credibility.
On a brighter note, we did have a great time hanging out at the Hampton Inn and the guys did enjoy a fabulous dinner at the local Waffle House!
Apopka, Florida here we come!
The Hampton Inn in Caryville, TN, was the most unique Hampton Inn we have ever visited – the walls of the lobby, hallways, and stairwells covered with hundreds of old photographs, newspaper clippings, and folk art and providing a retrospective of the old South. It even had an adjacent llama farm. I’m going to try to write a blog over the next couple of days as there’s not enough space to do it justice here.
So far, the feedback I have received on my book has been very positive, and I’m thrilled about that. Several people who purchased the book have e-mailed me and share their thoughts; I’ve even had some European interest. However, a Craigslist response last week to one of my recent blogs brought up one issue that I must address.
The response was to my last blog “The Benefits of Having, and Being a Mentor” and, while it completely missed my point about mentoring, the writer stated views that “the music business is the biggest waste of human activity” and something else to the effect of ‘why should young people have to spend years playing in bars to get good or make connections?’ This person was obviously taking a shot at me and my book, while it was clear from the rhetoric that he or she formed opinions based only on reading a couple of my blogs, without actually reading the book.
So for the record, here are some of my thoughts regarding music careers in Nashville (or anywhere for that matter).
When I started writing this book, my intention was to present a document that would help “fill in the blanks” for both newcomers to Nashville and people who are considering relocating here. I wanted it to be full of useful information that would simply help musicians’ gain perspective about what’s here and I believe the finished book does just that. But it’s definitely not a “get rich quick” angle. I don’t make any promises; I’ve done my best to simply present information about the Nashville music industry from a journalistic standpoint.
In fact, nowhere in the book do I suggest that moving to, or embarking on a music career in Nashville (or anywhere else) is a good idea. For that matter, nowhere in the book do I state that it is a bad idea. People have been selling the farm and moving to Nashville to fulfill their musical dreams for decades. The way I see it, people are going to chase their dreams no matter what I write in a book or a blog, and the last thing I’m going to do is try to talk someone out of their dreams.
Do I think that the music business is a waste of human activity? It might be for some, but those folks will never know if it is until they try. And once they have it in their head that they think they can succeed, no one is going to be able to “talk them down from the ledge.”
In the foreword to my book I write “many find out that the music industry of Nashville is not what they thought and are unable to achieve their dreams and aspirations, often resulting in a premature and hasty exit.” This is one of the first lines in the book and reading it today makes me think of something one of my professors at Berklee once told me. It was my first day of “Harmony” class way back in 1988 and the professor began the class by saying “80% of you will not survive your first year at Berklee.” He wasn’t trying to paint a picture of gloom and doom, he was simply trying to instill that what we had chosen to pursue is extremely challenging, perhaps much harder than we were prepared for, and that it was simply a statistical fact that more would fail than would succeed.
This sums up the music business perfectly. It is extremely challenging, much more difficult than you could ever prepare for, and only a small number of those who try will succeed. But this doesn’t mean that it is a waste of human activity, or that some people shouldn’t try. Like I said, it’s not my place to talk people out of their dreams. My whole angle is, if you’re going to try to build a successful career in the music business, understand how hard it is and prepare yourself for the road ahead. Arm yourself with as much knowledge as you can. Practice your instrument and become a great player and play music with others often. Learn how to enjoy playing nightclub gigs, for these are the majority of gigs most musicians will play. Read as many books, magazines, and articles about music, business, and life as you can. Talk to others in the business to gain perspective. Be a good person and contribute to the community in which you live. Work hard, bring something to the table, and don’t be afraid to put your chips down. And HAVE A BACKUP PLAN – be good at doing something else too!
The music business is an extremely competitive and difficult endeavor to succeed in, and making it work in Nashville is just as hard, if not harder than it is anywhere else. I don’t have all of the answers, I just know what worked for me and am sharing that with the hopes it might help a few others along the way.
So what are you waiting for? Buy my book today 😉
Today marks another milestone in my self-publishing book adventure, that being the arrival of “The Nashville Musician’s Survival Guide” epub and Kindle versions. I am pleased to announce that these digital formats are now available for purchase on my web-store for the low price of $9.99.
While I am still a big fan of old-fashioned paper books, and the original vision of my book was one which was printed on paper, I do see the practicality of eBooks and understand their growing popularity. In this hyper-digital world it comes as no surprise to me that printed books are starting to fall by the wayside, similarly to the demise of CDs, VCR tapes, and newspapers. But I believe there will always be a place for printed books, and therefore my book is available in both print AND electronic versions.
When the printed version of my book was complete I focused on the eBook conversion and hired a company that specializes in this work, eBook Partnership. During this process I learned a lot about the benefits and drawbacks of eBooks.
Here are a few benefits from the reader’s standpoint:
- A person can now carry hundreds of books in one small device.
- They are delivered almost instantaneously.
- They require no packing or shipping expense.
- They can show links, allowing easy access to related information and websites.
- Fonts can be resized to allow easier reading.
A few benefits from the self published author’s standpoint:
- The sale and transaction are instantaneous.
- They require no packing or shipping.
- They’re easier to sell internationally as shipping packages abroad is very expensive.
- They can be more affordable to the masses as they’re typically less expensive than printed books.
- They require essentially no storage space.
It all seems too good to be true, especially from an author’s standpoint. Well after a bit of research I learned that they are just a little too good to be true. Despite all these advantages there are some drawbacks:
- If your battery dies and you aren’t somewhere where you can plug it in your screwed.
- ebooks lack the look and feel of a traditional book – i.e. cover, pages, binding, etc.
- Unlike traditional books there is no market for used eBooks, so a reader can’t recoup some of their original investment.
- And perhaps the biggest drawback from an author’s standpoint is that eBooks lend themselves to piracy.
As we all know, when the music industry went digital, this was the start of the illegal filesharing era. Similarly to the MP3, the eBook is also far more prone to theft than its predecessor, the paper book. As the day on which I would release my own eBook drew near, I started looking into ways to protect my electronic book from piracy. I learned that there are protections that can be applied to my eBook to prevent this kind of theft but this would be expensive, and it would not be foolproof.
The truth is that even Kindle and ePub versions of books with the most advanced piracy protection (like the kind of protection applied to eBooks sold on websites like Amazon and Barnes & Noble) could be disabled by the savvy computer hacker. In other words, if somebody really wants to they can take any eBook, disable its copy protection, and pass it around the Internet as fast as a jar of moonshine will get passed around a Kentucky campfire.
Matt Horner, the eBook designer who worked on my project offered the following thoughts on the matter
“Overall, the value of DRM [Digital Rights Management/Copy Protection] is debatable and anyone who is set on copying your eBook would be able to strip the DRM from it within minutes by downloading free software from the Internet. My advice would be to price your eBook sensibly, accept that there may be some piracy, but assume that the majority of people are honest and would rather buy a reasonably priced eBook than download a pirated copy.”
So I have priced my eBook very reasonably – hence $9.99 (thousands of hours went into this project so I can’t simply offer it for free.) I hope that most musicians, the prime audience for this book, realize that this work has value, similarly to the way a songwriter or artist places value on their work.
So steal it if you must, but if you truly want to help preserve the noble endeavor that being an author or songwriter requires, follow this link and get your copy of “The Nashville Musician’s Survival Guide” today!
Hey everybody, I realize that I haven’t been writing very many blogs over the past couple of months and I feel like I owe y’all a few. This lack of regular blogging is mostly because of the frantic pace I kept while trying to finish the book. I’m going to do my best to put out a new blog everyday (or so) for a while.
When I first moved to Nashville, back in the summer of 2002, I was hungry for work. But gigs, especially gigs that paid well, seemed few and far between. My mentor and friend, “D” gave me tons of good advice, including networking on the town as often as I could. I followed this advice, going out on the town four or five nights a week, taking every oddball gig that was offered, sitting in whenever I could, etc. After six months of this routine, although I was making a lot of friends and connections, I still didn’t have any consistent gigs that paid any real money to speak of.
So one day I told him “Things just don’t seem to be evolving very fast for me. I’m going out on the town all the time, sitting in, making friends and networking, but the phone just isn’t ringing very much. What am I doing wrong?”
His response was quite simple, although I wouldn’t entirely comprehend the entirety of it for a couple of years.
“Patience my boy, Rome wasn’t built in a day. This town goes at its own speed. You’re doing all the right things and making a good impression around town. Everyone I’ve introduced you to likes you and you’re building a good reputation for yourself. The people you are meeting today and the relationships you build with them are what is going to give you work five years from now.”
Although that last statement was probably the most important thing he said during our conversation, the things that I heard the loudest were “This town goes at its own speed,” and “five years.” Geeesh! The Nashville music scene goes in slow motion, and I have to wait five years to get busy – NOT exactly what I wanted to hear!
But looking back at that moment, now going on 10 years into my Nashville life, those telling words make so much sense. I met a lot of people during that first hard year of Nashville – musicians, engineers, songwriters, artists, etc. – and became friends with many of them. In the years that followed, many of these friends and acquaintances would eventually call me for work. Sometimes it was a simple “one-off” gig, other times it was several gigs, sometimes it was songwriter demos.
In 2006 I did a ton of gigs on Broadway, mostly at Tootsies, but also at The Stage and a few other clubs on the strip. It was good supplemental income, good for my chops, and I met and gigged with several great players whom I became good friends with in the years that followed. These gigs all started with one phone call from a guitar player friend I had met during my first couple of months in town. He subbed out a few gigs to me, these gigs led to more gigs, and before I knew it I had all the work I could handle on the strip – All because of one relationship.
Several years later I was working more as a touring musician and no longer gigging regularly downtown. On many occasions I found myself in need of musicians for different situations, and ended up calling players I had met during those earlier years of steady gigging on Broadway. Sometimes I would need a player last minute and call someone I hadn’t even spoken to for a couple of years, someone that had obviously made a good impression at an earlier point in time.
I have learned that the town (and life for that matter) does go at its own speed, and quite often that speed is slower than we would all like. But I have also learned that there really is a lot of truth to “The people you are meeting today and the relationships you build with them are what is going to give you work five years from now.”
As some of you may know, and for those of you who don’t know, I have just released my book “The Nashville Musician’s Survival Guide.” This street-level perspective of the music-related jobs in the Nashville music industry is now available in print version, and the e-book will be available within a few days. To purchase your own copy, follow this link.
Come out tonight for the official book release party for “The Nashville Musician’s Survival Guide” at The Fillin’ Station in Kingston Springs, TN (7 – 11). Many of the contributors to the project will be in attendance and the first three people to ask will receive a free copy of the book. My band will be playing featuring former “G-man,” Mike Chapman on bass; Nick “Shaggy Bag” Forchione on drums; and me on vocals and guitar. There might even be a few special guests.
After 2+ long years of research and writing, I’m excited to get this book out into the world. This project has been all about paying it forward, and I believe this book will prove to be a useful tool for many musicians trying to find their way in this crazy business. This will be a very special night, and one to remember for a long time to come. So come on out for the festivities!
The Fillin’ Station
385 North Main St.
Kingston Springs, TN 37082
phone: 615-952-2100
Directions from downtown Nashville:
Take I-40 West to exit 188 (Kingston Springs)
Go right at end of exit onto SR-249 (Luyben Hills Rd.)
Go 300 yards turn left onto Kingston Springs Road
After 1.3 miles you’ll come to a stop sign – turn right onto North Main St.
The Fillin’ Station is about 400 feet on the left (the last business in a small strip mall)
