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I am now about fourteen months into this project and am happy to say that there is an end in sight. As I have about 95% of the writing finished, I decided it was time to turn it into an unformatted hard copy so I could give it a read thru and assess. So last week Kelly turned it into a PDF and we ordered 3 copies thru Café Press which we received in the mail last Saturday. Even though it’s only a first draft and there’s a lot to still be done, it was pretty exciting to open the package and see my work finally in print.
All week long my daily ritual has been to wake up early, eat breakfast, and tear into the reading with a pen in hand. I’ve been fixing some grammar and punctuation mistakes, assessing the overall flow, and making notes about potential changes and images to obtain. I’m almost thru with this first read thru/edit and so far I’m quite pleased. Among a few of the big tasks that lie ahead are the writing of the last chapter “Define Making It” and the Rhett Akins interview on songwriting.
I’m writing this from the road in a hotel room in Wake Forest, North Carolina (tonight I’ll be performing with Rhett at the nightclub, Crossroads, in town), and I just finished the interview. As Rhett is on a mega roll with his writing as of late, his perspective was deep on this subject and I can’t wait to transcribe and edit our 55 minute exploration.
I still need to find a couple dozen more appropriate quotes, a few specific photos and images, write the acknowledgements, and the glossary, and of course make all the editing changes from my read thru. Then I need to hire a professional editor, an interior designer, and find the most affordable way to get this printed. To learn more about these final steps I ordered the critically acclaimed book “Dan Poyntner’s Self Publishing Manual”. One last thing, I also plan to add one or two of my “Flood Blogs” to the book, with a brief summary, as this was one of the most important things to ever happen in Nashville.
So if all goes according to plan, this book will complete and ready to ship sometime in September. It’s been a long road, but ultimately, the road has just begun. Well that’s it for now, I’m off to the show.
What is a musician? A musician is one who makes music. I believe that if you can make music on any level, by any means, then you are a musician. While there are varying levels of musicianship and musical expression that one can possess, a person’s level of musicianship and their music career or lack thereof are not always related. Many professional musicians are great players while other pros are not. Some “amateur” musicians play with more emotion and proficiency than some pros.
In the critically acclaimed book “This Is Your Brain on Music”, author Daniel Levitin points out that no known human culture now or anytime in recorded history lacked music. Some of the oldest artifacts found in human excavation sites are musical instruments. It’s only been in the last 500 years of our own culture that society has divided itself into two groups, music performers and music listeners. In many non-industrialized cultures, music making has always been, and still is as natural an activity as breathing and walking, with everyone participating. Before television came along in our own society, many families played music together for entertainment. Most modern day music listeners have the ability to recognize wrong notes, remember melodies, and tap their feet in time to music, which according to Levitin is an activity that involves a process of meter extraction so complicated that most computers cannot do it. An argument could be made that a person who possesses even a minimal amount of music making abilities is a musician.
Our culture tends to put emphasis (perhaps at times, too much emphasis) on technical virtuosity. While understanding music theory and being technically capable can enhance the performance of some musicians, it is not at the essence of human expression through music. We only need to look back to the blues music of the last century, the work songs of the slaves, or the primal rhythms of Africa to understand the power and depth of human emotion that “non technical” music can convey.
Music exists for everyone, and the performance of music should not be reserved to the few that happen to excel at it. If you enjoy the feeling you get when you strum a guitar chord or strike a drum, that is reason enough to make music. If you like to sing, even if it’s only in the shower, then you should sing. Music is perhaps the oldest form of communication, and should be continually explored by all people from all walks of life. What is a musician? Perhaps a musician is simply a human.
What is a fair price for our services as musical entertainers of the world? This is highly subjective, but in general, most musicians are underpaid.
My career as a professional musician began in New England, where I played the nightclub circuit from 1989 to 2002. When I first started out I made $300 per week salary in a top 40 band called Crossfire. We played about three nights a week on average, 50 weeks a year so I was basically making $100 a night. I left Crossfire in 1992 to join one of the first incarnations of a new local band, Jet City. The early version of this band was a bit disorganized, and we had literally no draw, rendering our pay to about $30-$50 per player per night. Shortly after this I started the cover rock band Shockwave, and we began playing around southern New Hampshire and the Merrimack Valley for similar wages initially. By the peak of that band’s popularity in the mid-to-late 90s we could draw 50 to 100 friends and followers nightly, plus whatever local following the bar already had. This got our nightly fee up to between $700 and $1000. We had our own production, a sound engineer and lighting designer, and each earned between $100 and $125 nightly. By the year 2000, Shockwave was dismantling and I started a three-piece blues rock band, and my nightly average went down to about $75 to $80.
In 2002 I relocated to Nashville and quickly learned that in-town nightclub gigs that guarantee a hundred dollars per player per night are few and far between. There’s a handful of gigs that might pay that, but for the most part, clubs pay a base pay of $20-$50 per player plus tips, and if you can draw 50 people it won’t necessarily get you any extra money. If your gig is in a tourist hotspot, and you play the right songs and work the crowd correctly, you can make $100 a night, sometimes even more. In those same scenarios you could also make $40 or $50 depending on the circumstances of a given night. This is why so many players in Nashville work towards landing touring gigs as a tour will pay you a considerably higher wage (usually $250 per show day or higher).
In recent conversations with friends back in New England, I learned that a hundred dollars per player per night is still somewhat of an average wage. It’s a sad state of affairs, but the truth is that musicians are a commodity, and we are working in a world of supply and demand where the supply far outweighs the demand. In this day and age if you’re getting $100 per night to go out and play music locally, that’s pretty decent money for us musicians. It’s just sad that when you factor in the cost of living increases and inflation, $100 in 2010 is considerably less than $100 was in 1989. I was, however, encouraged to also learn that in the New England club scene today, having a strong following, or possessing the ability to create strong sales at the cash register can still help bands to command a little better money. I guess in reality, that’s how this whole base pay plus tips thing works as well. Build a crowd and get them dancing and drinking, if they like you they will tip = earn more money.
If you play in a band and have reached a pay ceiling in your region, the “base pay plus tips” concept might be worth trying in a club or two. The way this works in Nashville is that clubs guarantee a minimum base pay of typically $200 to $300 per band per night, they don’t have a cover charge, and a tip jar is placed on the front of the stage. The lead singer will make an announcement, usually near the end of each set, that the jar will be coming around, at which point a friend or band girl friend will walk the tip jar around the room, stopping at each table or patron for tips. Not everyone will tip, but many will. The better the party you have going on, the better the tips will be. You can also use the tipping concept to joke around with the crowd. For instance, when somebody requests Sweet Home Alabama or Mustang Sally, you respond by saying “That song is usually at least a $20 tip.”
The reality is that it’s simply hard to earn a decent wage as a musician. So ask your price, take the gigs you find acceptable, and try to make it fun, because it doesn’t look like we were meant to get rich doing this.
Nashville is overflowing with musicians, songwriters, artists, producers, and just about every type of aspiring music entrepreneur imaginable. Unfortunately, this massive talent pool also attracts a fair share of scammers and fakes, many who actively seek out the unsuspecting, attempting to extract as much money as possible in exchange for their less than honorable services. Many will claim to have extensive industry contacts, often boasting a long list of seemingly impressive professional credits. The best sharks will come off as being genuinely interested in you, your music, and your potential, often stating that they have all the connections needed to evolve your career quickly and efficiently. They may not even ask for money on the first several encounters or phone calls. Some of these shady characters could be unsuspecting patrons circulating the local nightclubs, while others advertise their illegitimate operations on the Internet. Although most of these scammers are primarily interested in your money, some might be interested in sex, companionship, or other favors, and will work towards these ends through a series of music career related manipulations that initially, on the surface, might seem to have your best interests at heart.
To avoid getting ripped off, here are some things to be on the lookout for:
Shady Internet ads:
- Lack of a real domain website. Most, but not all, legitimate businesses have a real domain website, for example www.cornermusic.com. Be wary of companies that don’t. If a company only has a MySpace page, or a freebie site (if you scroll down to the bottom of the home page it might say something like “free site by Go Daddy”) that usually implies they are on a low budget. Granted some companies may be just getting started, but if you expect them to have the resources to make a difference in your career, it is only logical to expect them to have enough of a budget for their own advertising.
- Requiring payment for an initial consultation. In this day and age, literally any legitimate business will offer at least one free consultation. If an individual or company is truly interested in helping further your career, they should be willing to at least have an initial conversation with you (if not several) free of charge.
- Lack of contact info. If you find a music business-related advertisement on the Internet and it doesn’t have a business address or phone number, that’s usually not a good sign. Most honest businesses are easily accessible.
E-mail solicitation:
- How an e-mail is worded. If you get an e-mail from somebody stating they are interested in you as an artist, or your music, pay close attention to the wording. Realize that much of your information is easily available to strangers on the Internet (especially if you have a MySpace or Facebook page) and it’s not hard for spammers to inject some personal information to their message. Read between the lines. Are they speaking about your music in general terms, using descriptions that could apply to any song, or is it obvious they’ve researched beyond that.
- Lack of a domain e-mail. As noted above, most legitimate businesses will have a real website, usually accompanied with an e-mail address that has the same domain. Be wary of e-mail solicitors whose addresses end with generic e-mail hosts like @gmail.com or @yahoo.com. Once again this is not always the case, but this can be a flag.
- Solicitation of songs for a compilation CD. If you get an e-mail or MySpace message from some organization claiming they want to put your music on a compilation CD, for a fee of course, delete the e-mail. You should never have to pay to have your music placed anywhere. A legitimate organization will pay you for the use of your songs.
In-person solicitation:
- Fast talkers. When you are performing in a nightclub or other music venue, whether it be a full performance with a band or just a quick sit-in, you have inadvertently opened the door to any scammers that might be present. While some legitimate entities may be interested in talking with you, be wary of the ones that begin making big promises early on in the conversation. If they seem like they might be legit, don’t be afraid to ask questions about their business and background.
- Read between the lines. Often, a person’s body language, and how they say something can be just as revealing as the content they put forth in a conversation. If they avoid eye contact, seem nervous, or lack focus when you are speaking, that could mean they’re less than honorable. Of course it could also mean that they are simply shy, and that you are boring them to tears. Try to be as objective as you can.
- Learn how to research. If you meet someone in public that shows an interest in helping your career, ask for a business card, or jot down their name and contact info if they don’t have one. Visit their website and review their info. Perform a Google search and read up on as much background information as possible. If they are a plausible entity, it should quickly become obvious. If you can’t find any information about them at all, that should be a flag. This also applies to companies that contact you through the Internet and e-mail solicitations as well.
- If it sounds too good to be true, it probably is. There are more musicians and artists trying to get ahead then there are opportunities or work for them. In reality, as the supply far outweighs the demand, our services aren’t really essential to society. So when somebody says “You’ve got what it takes to be a star, and I want to help make it happen for you.” There’s a good chance this is BS. Never lose sight of the fact that no one will ever care as much about your music and your career as you will.
Whether you realize it or not, when you signed on for a career as a musician or artist, you became a salesperson. You are trying to sell your songs, your craft, and ultimately yourself. Depending on your goals, you might need some help along the way, and some of this help will cost money. Ultimately, the key to avoid getting ripped off is a combination of common sense and research. Thoroughly research any and all individuals and companies before you fork over your hard earned cash, and especially before you ever sign anything. If you’re still unsure after your research efforts are exhausted, ask for references and don’t be afraid to call them. And if you’re still not sure, always refer to rule number one – “If it smells like BS, it’s probably BS!”
As a guitarist, having good control of vibrato has been a key component in my ability to effectively communicate through my 
instrument. For many music purists, the use of vibrato has been widely debated, as so many artists and performers have used it with such a wide variance of efficiency and taste. There is the rapid fire, “billy goat” style vibrato as used by singers like Joan Baez and Eddie Vetter, the emotive, stinging vibrato used by guitarists like Jimi Hendrix and Buddy Guy, and the stark, subtle almost non-vibrato of Miles Davis. All these styles, and others, have their place, but some approaches, arguably, may be more effective than others.
When I was first learning how to play guitar, it took all of my ability to simply play notes and chords cleanly, I wasn’t even aware of what vibrato was. A few years later, as I progressed, I gradually began to learn about the concept of vibrato from other guitarists. But my early development, similar to that of many guitarists, led to a quest for speed, rather than emotional content. When you are playing fast all the time, there is little time for vibrato as you never land on one note long enough to apply it. Fortunately, my early possession by a speed demon eventually came to an end, and a stronger, more pronounced sense of vibrato gradually became inherent to my playing.
What is vibrato? Here is a definition from the website answers.com:
“Vibrato is a musical effect consisting of a regular pulsating change of pitch. It is used to add expression to vocal and instrumental music. Vibrato can be characterized by the amount of pitch variation (“depth of vibrato”) and speed with which the pitch is varied (“speed of vibrato”).”
It goes on to say:
“The use of vibrato is intended to add warmth to a note. In the case of many string instruments the sound emitted is strongly directional, particularly at high frequencies, and the slight variations in pitch typical of vibrato playing can cause large changes in the directional patterns of the radiated sound. This can add a shimmer to the sound; with a well-made instrument it may also help a solo player to be heard more clearly when playing with a large orchestra. This directional effect is intended to interact with the room acoustics to add interest to the sound, in much the same way as an acoustic guitarist may swing the box around on a final sustain, or the rotating baffle of a Leslie speaker will spin the sound around the room.”
This brings up my first point, the battle to be heard. Although they are using classical music in the context of an orchestra, I believe the concept is universal. If you’re performing with a live amplified band, whether singing a lead vocal, playing a signature lick on a violin, or wailing a guitar solo, there is usually an effort required to make those notes audible and impactive above the roar of the band. Think of the total sound made by the band as one giant wall of sound. The lead melody, in most situations, is simply a group of chord tones and passing tones that fit into that wall of sound. A good strong melody in and of itself usually contains enough motion to create a contrast against the wall of sound, but when the melody sustains on a note, it begins to blend in. Using vibrato on those sustaining notes and at the end of phrases can create additional movement and allow the note to have a greater contrast against the otherwise static wall of sound upon which it sits.
Leopold Mozart, father of the famous composer Wolfgang Amadeus Mozart, wrote a textbook for violin instruction, Versuch einer gründlichen Violinschule which was published in 1756. In it he writes “there are performers who tremble consistently on each note as if they had the permanent fever. ” Although he ultimately condemned the practice, he does go on to suggest that vibrato should only be used on sustained notes and at the end of phrases.
This is where the line between preference and taste becomes greatly blurred. Many successful artists use an excessive amount of vibrato, such as the previously mentioned vocalists, and this creates the trembling effect as noted by Mozart. And while this does not prevent these artists from having successful careers, this kind of “billy goat” style vibrato is often the result of a less than stellar technique. The lead melody was already designed to sit on top of the mix, containing enough inner motion to do so without constant vibrato. By singing with a constant vibrato, it’s like putting extra notes in where they weren’t intended. Some musicians and singers create these habits early on and simply choose to stick with what works for them.
Now take this to the other extreme. Listen to, or envision the sound of a great David Gilmour guitar solo. The fast passages are 
played cleanly with no vibrato, but then at the end of the phrase, he might just sit on the last note for a few seconds before slowly and incrementally adding some substantial vibrato, usually at a speed that is a subdivision of the songs tempo. A lot of great blues and jazz musicians also employed this technique as well as vocalists like Etta James, Ray Charles, Frank Sinatra, and Paul Rogers.
This concept radiates my other point, our need to express. Music is simply communication. As a musician we are trying to convey or communicate stories, concepts, ideals, and emotions. Vibrato is simply one of the tools on our palate. So are dynamics, volume, speed, phrasings, etc. If you play constant 16th notes in your solos or drum fills, there is no contrast, the passages will be static and predictable. Insert some slower phrases within the fast flurries and the slow passages will create a contrast, ultimately giving more meaning to the 16th notes. I believe the same is true for vibrato. Use it constantly, and there is no contrast. Use it where it is most needed and most effective, and it will only serve to enhance your overall expressiveness.
From an electric guitarists standpoint, I like to use vibrato not only to create drama within a lead line, but also to help coax more sustain out of a note, and at times to induce controlled feedback. I’ve also adopted the technique of adding vibrato to the end of a bent note, a trick I learned from listening to recordings of guitarists like Jimi Hendrix and SRV. Of course, some would argue that true vibrato must come from a feeling, not a thought
This is all highly subjective and to be taken in stride. Explore the endless possibilities of vibrato but don’t overthink it, it should feel natural. Like one of my great instructors at Berklee once said “Practice your technique at home. But when you get to the gig, just play.”
Throughout my career as a professional guitarist I’ve played in all sorts of bands, and in all sorts of situations. I’ve played in rock bands, blues bands, jazz trio’s, and eight-piece country bands, and performed in night clubs, sports arenas, on flatbed trailers in a field, and at giant outdoor festivals. One of the biggest challenges of live performance has been the ongoing battle to achieve a palatable overall stage sound. As most musicians, myself included, use the same gear from one show to the next, this leaves the PA system, the sound engineer, and the natural 
acoustic “space” of your performance as the variables that will regularly change.
Let’s face it, most music performance venues are an afterthought. Whether it be a sports bar with a band in the corner, a tin roofed industrial building turned concert hall, or a 15,000 seat concrete sports arena moonlighting as a major concert venue, many of these situations simply don’t sound very inspiring. As a player in the band, I’m always trying to coax every ounce of sonic maximization out of every sound check or gig. But sometimes, no matter how much we keep tweaking monitor mixes, changing the angle or location of amplifiers, or notching annoying frequencies out of the PA, we just seem to wind up with a different version of mud. It is in these situations especially, that technique, concept, and style can have a huge bearing on the overall sound.
I saw an interview with Peter Frampton where he talked about a point early in his career when he transitioned from playing clubs and concert halls to sports arenas and stadiums. He mentioned how the sound was often less than great and that he adapted his songwriting style to work better in the context of “arena rock”. In the interview, he demonstrated this approach by playing a few simple power cords back to back and allowing the chords to ring openly. When I saw this interview, it not only reinforced a little of what I already knew, it got me thinking about how and 
why this would make sense.
When sound is in an acoustic space that results in a loss of definition, some of the finite details of a musical performance become lost in the mud, often because of an overly exaggerated natural reverb and/or certain over accentuated frequencies. This is especially true in large cavernous buildings, or at over sized outdoor festivals. If you’ve ever played in these situations, you may have noticed that the ballads often tend to sound and feel better than the up-tempo songs. One of the reasons for this is because a slower tempo allows for longer note durations, and longer pauses, or more space, in between the notes. Playing in a larger physical space means that it takes longer for a note to develop and bounce off of a wall, and by playing long slow passages you are allowing these notes time to develop before bombarding them with the next note. You are playing into the inherently slow reaction time of a large or inefficient space and working with this handicap.
Now think of this phenomenon in reverse. You are playing a busy, up-tempo song in the same clumsy, nondescript acoustic environment. The bass player is playing a pedal of steady eighth notes on the low E, but because of the nature of the room, it just sounds like one big long note. The intricacies of the cymbal work seem to get lost, and the guitar solo doesn’t seem to cut through the mix. Needless to say, the vocalist is now having a difficult time singing over the roar. The room is just too loose to handle this many notes in rapid fire succession at a high volume, and turning the mix up or down doesn’t seem to help. When all else fails, simplify. Rather than just playing the exact pattern of the studio recording of a song, or your interpretation thereof, try adapting your part to fit the sonic inadequacies of a particular situation. Maybe quarter notes on the bass and a simpler pattern on the hi hat will help create a more open, and spacious mix. Perhaps simplifying the guitar part by leaving out certain rhythmic nuances that are getting lost anyway will create a better feel in the moment.
Back in the early 2000’s a friend of mine asked me to sub a gig for him on a national tour. His advice was to learn the material to the best of my abilities, but to play “big and spacey”. In the years since, I’ve worked hard at my ability to play into the sound of each “space” and have learned that not only is less more, quite often, less is better. Playing simply in live situations allows each note to have more meaning and also creates more space in the overall mix for the other instruments. And when all the players of a group work within this mindset it can also result in a more controlled, and often more inspired stage sound. So if you’re playing a show and it doesn’t sound good on stage, don’t just go on autopilot and accept that fate. Work towards finding a balance between the inadequate physical space of the venue, and the amount of perceived “space” in the music. Space has its own vibe. Space is beautiful.
It was just after 1 PM on Saturday, May 29 as we pulled into the Fast Lane minimart in Huntsville, Tennessee. The parking lot of this fine establishment would be our home base for the day 
as this was the closest our tour bus could safely get to the mountaintop concert site. The event we were playing on this hot and humid Memorial Day weekend was “The White Knuckle Event” at Brimstone Recreation, an annual ATV convention on which thousands converged from all over the country, some even traveling from as far as Canada.
Shortly after our arrival, the event coordinator arrived with a fleet of four-wheel drive pickup trucks, our gear hauling and runner service for the day. Some local fellows helped load the gear into the back of the trucks, and we hopped in to make the 5 mile, 30 minute ride to the top of the mountain. The first couple of miles of this trek 
was quite scenic, winding through a maze of fields and rolling hills spotted with picturesque homes and cabins. After about 10 minutes of driving, the pavement ended and we proceeded up some steeper inclines as the road turned to dirt and gravel. We we’re now going up the mountain, and the old logging road on which we were traveling was a flurry of activity, with a steady stream of four wheelers and other off-road vehicles coming and going in every direction. The air was thick with dirt and dust kicked up from all the ATV’s as we passed a couple of campsites along the way.
A little while later (it seemed like an hour) we reached the summit and a spectacular panoramic view of the mountain range came into focus. We backed up the pickups to the stage and commenced our load in and sound check. The stunning view off the back of the 
stage was that of several other peaks, jettisoning up across the horizon under some billowing clouds that seemed to stretch on for as far as the eye could see. The contrasting view off the front of the stage was that of a sea of four wheelers dotting the hilltop amidst several vendor tents, all viewed through a thick haze of freshly kicked up mountain dust.
By four o’clock we had finished sound check and strapped in for the bouncy ride back to the bus. Chilling on the bus for a little bit, we dug into the event provided meal of country ham, green beans, steamed corn, and hot rolls. As this was the only store around for miles, the parking lot was a flurry of activity, providing varying degrees of amusement which could be viewed through our tinted bus windows. 
At one point a truck pulled up towing a trailer upon which a four wheeler containing several young family members sat. A little while later, one bright fellow took off on a dirt bike with his toddler sitting on the handlebars. It was a regular ATV Woodstock, and after dinner and some showers we hopped back into the pickups for another bouncy ride up to the peak as it was getting near showtime.
Now nearing dusk, we were in amazement upon reaching the concert site when the view of 10,000 concertgoers sitting on thousands of ATVs came into sight. We hit the stage running, and the powerful PA system filled the night air with the sounds of Rhett Akins music. We began the show with our appropriate onslaught of ‘Down South’ and ‘I Brake for Brunettes’ and the crowd was instantly on our 
side. After a few more tunes, Rhett introduced me as the bands only Yankee and encouraged me to play some southern slide guitar. This led to our rendition of ‘Curtis Lowe’ which was followed a little while later by some hunting songs from his new CD like ‘My Baby Looks Good in Camouflage’ , ‘Duck Blind’ and ‘Hung Up’.
We finished the show to a massive ovation which brought us back for a brief encore. Just before we began our short second round I was informed that one of the patrons wanted to propose to his fiancée on stage. A minute later, an excited young fellow stood on stage in front of the masses and told his girl he loved her and wanted to marry her. Teary-eyed, the girl made her way to the stage to meet her love, at which point he gave her a ring. Everybody got all mushy at this point as we played Rhett’s hit ‘She Said Yes’.
Our mountain top adventure complete, we loaded up our gear, road back down the mountain, and hit the road.
Last night I went to a blues jam at a local bar near my home. In my younger days, I used to frequent blues jams regularly, sometimes driving an hour and a half just to sit in for three songs. I haven’t been to a blues jam in quite some time, and last night was a reminder of a darker element inherent to some of these events.
This particular jam is held at a local watering hole, and in general, a fun place to go. The bar owner is a man of high spirits, and his good nature is a catalyst for the overall feeling of community which exists in this quaint setting. Kelly and I were meeting some friends, and when we arrived they were already there, hanging out and listening to the house band play their first set. These friends were also locals and had invited some of their friends, a three-piece blues band of passionate youngsters that drove down from Kentucky.
Shortly after greeting them and settling in, the fellow that runs the jam came over and asked our band friends if they were here to play. When they said yes, he barked “Do you guys play blues? You look like a bunch of rock and rollers to me, with the long hair and everything. This is a blues jam and we’ve got to pretty much stick to the blues.” Certainly not the friendliest foot to put forward. He accepted the fact that they were going to play, but told them they had to play with an additional guitar player, some local SRV type.
As they were the first players to arrive at this first come first serve jam, the jam master told them they were up, but to set up as quickly as possible as the clock was ticking. As they were setting up their guitars and getting situated, the “blues Nazi” walked over to the drummer and told him that he was too loud, even though he hadn’t played anything yet.
A few minutes later they started playing their first song, which was going well until halfway through it when the uninvited “guest” guitar player accidentally unplugged the bass players amp, essentially train wrecking the song. Halfway through the second song our less than friendly jam night commando was in their face again telling them they were too loud. They finished their short set to a decent response, and I might add that I thought they were quite good, full of that kind of youthful energy and passion that so many older players often lack.
When I chatted with a couple of these players shortly afterwards, they told me they frequent a lot of blues jams near their hometown, and at least half the time they get this kind of attitude. It made me remember the days when I used to frequent blues jams and how I had often experienced the same thing. The funny thing is, this particular blues Nazi, is not even a very good musician (as is the case with most blues Nazi’s). His condescending destructive nature wards off many a player. These three excitable youngsters drove 100 miles to come play music, as I had done many times in my younger years. So what if they were loud, isn’t live music too loud half the time anyway? If we wanted to hear quiet music, we would have stayed home and played the stereo.
The moral of the story is: Life is short, so don’t be a blues Nazi
It’s been a busy week, and there have been many new developments I would like to share. On Monday, MSNBC posted an article I wrote about the flood on one of their websites, The Maddow Blog. My new contact at that website is urging me to continue reporting on the disaster, and submitting more articles. In the days since then, I’ve been conducting more research and compiling data for future writings.
I’ve also refocused my efforts toward completing my book. Right now my manuscript for “The Nashville Musicians Survival Guide” is sitting as one massive word document on my computer. As I have been away from the project for about a month, I have decided to turn it into a PDF and print out a couple of unformatted hard copies. I plan to read it cover to cover over the next couple of weeks to better assess where I’m at. I’ll also probably give a copy to a couple of my music industry friends to get some objective opinions. I’m pretty excited to have a copy, even a crude first draft, in my hand.
It’s been a pretty good week for musical activities as well. Earlier in the week I tracked a live drum session in my studio for a songwriter project I’ve been working on. I also spent some time recording guitar tracks and doing some finished mixing of the material. Last night I played with my classic rock and blues band, “The West End Rhythm Kings” at Cancun in Bellevue, and it was tons of fun, some much-needed music for the soul.
There’s also been one other exciting development this week. In my flood research for the Maddow Blog, I came across the website, climateprogress.org. I e-mailed the site’s editor, Dr. Joseph Romm, with some thoughts and questions about the Tennessee flood, as I have been wanting to talk to a climate expert ever since our extreme rain event. The result was some dialogue in which he encouraged me to submit a report on the disaster to post on his site, which just happens to be the biggest climate related website in the world. The article I submitted was a rewrite of one of my blogs from two weeks ago, with updated information, and a link to a photo slideshow that Kelly helped put together. In the coming weeks, I will be conducting more research to submit a series of articles to MSNBC and the Climate Progress website.
Not bad for a guitar player from New Hampshire.
Saturday morning began for me at 5:30 AM, when I was suddenly awoken by the sound of a loud crack of thunder. By the time I dragged myself out of bed a short while later, a heavy downpour was underway, and our fair state of Tennessee was beginning to receive a walloping storm. On any other day this would have been less significant for me, but on this first day of May, 2010, Rhett Akins and band were leaving for an outdoor show in Alabama, and it was my job as tour manager to see it through.
All morning long, in between preparing for the trip, my wife Kelly and I kept checking the weather, and grew more concerned with every passing minute as the forecast was not good. During the 40 minute drive to the bus, which was exceptionally precarious due to the now torrential rain, I received a call from Rhett, who informed me he would be leaving late and driving himself to the show. We arrived at the bus, loaded up, and began the 130 mile drive to our destination, the small town of Hartselle, Alabama, just a little ways over the Tennessee/Alabama border.
The rain was relentless for the first half of the drive, and just when it seemed like our show was doomed, it gradually began to subside as we neared the Alabama border. I now received my second phone call from Rhett, and our newly found optimism was again put on hold when he told me that he just saw a car completely submerged underwater on the northbound side of Interstate 65. We all began to worry about our fearless leader (as well as our own fate) as we watched the news now showing video footage of the devastation this storm had just wreaked upon Arkansas, in the form of tornadoes, and Memphis, by way of flooding.
We safely arrived to our destination, a large open field in the middle of nowhere upon which a local business, Frederick Tractor Supply, was throwing a groundbreaking ceremony. As we
pulled down the long gravel driveway, I first spotted the stage; two flatbed trailers complete with a green tarp “awning”, supported by two by fours. I now received my third call from Rhett who informed me that the radio stations were no longer playing music, but delivering storm news, and that I65, I24, and I40 around Nashville were now closed due to flooding. A short while later I was greeted by the owner who told me “I think we may have dodged a bullet on this one.” as I felt a few light rain drops on my face.
The light sprinkle was short-lived, and we hesitantly began our load in and soundcheck. Halfway through soundcheck the sprinkle returned and intensified, so we covered our gear and returned to the bus. Around 5:30 it subsided, and we finished soundcheck and waited for dinner, some home-cooked barbecue that was allegedly “the best in the county”. As we sat on the bus, the latest news reports were now showing a broader picture of the pending apocalypse that loomed just outside our door step. Flipping between the Weather Channel and CNN, we were horrified to see images of Nashville interstates that looked more like lakes filled with half submerged cars and tractor-trailers, viewed through a gloomy mist of grey.
It seemed surreal that we were getting ready to play a concert, while just 100 miles to our north there were more than 70 cars underwater 
on the roadways we had just traveled upon. Strangely enough, it never did rain again on our quaint little country setting, and we played a 90 minute show to an approving audience of 500 or so tractors and concertgoers.
After the show was over, our bus driver Steve informed us that I65 was now passable, but that another round of storms was on its way, so we made a hasty departure to try to beat the next storm. Fortunately, the ride home was uneventful, and we arrived safely back to our cars in a parking lot near the Opryland Hotel. A short while later, as Kelly and I neared our home just West of Nashville, we came upon a city truck blocking the road in front of some standing water, and had to take a detour to a secondary entrance to our development. As we pulled into the driveway of our home, we were greeted by a cold dark house as the storm had knocked out the power in our area.
It’s now noon the next day, again raining heavily, and I’m writing this by hand as we’re still without power. We learned the day before that a flood watch will be in effect for middle Tennessee until Thursday, as this storm was not yet finished. Yesterday it rained 11 inches and less than 10 hours, and before the storm is done, we could receive up to 4 to 8 inches more. So far at least eight people have died from drowning in what is being deemed the worst flooding the state has seen in over 30 years.
It’s not over yet, and I wonder what we’ll learn when the power comes back on. As I sit with a pen and paper, looking through a window at a rain soaked canopy of green and grey, I’m still amazed at how a mere 14 hour bus gig, the shortest in recent years, was one of the most stressful and terrifying we had ever experienced. While some weren’t so lucky, at least for our group, it looks like we might have dodged a bullet on this one.