Having been in this business for over 38 years now, I have become accustomed to a system that pretty-well relies on referrals for work.
I've had a manager: he did nothing but price me out of the market and annoy my existing clients (much of which I only found out later). So I gave up that idea.
When I first moved to Nashville, I hired a publicist. She did a lot of great work, introducing me to all kinds of people - none of whom ever booked me for anything! In fact most of the time they crossed their arms and said: "I don't care who you are, it's going to take you 5 years to establish yourself in THIS town!" As a side note, I actually got the Trisha Yearwood 2000 tour by auditioning for the gig. even then, I wasn't originally chosen (it went to a "younger person"). When things didn't work out with that person, I rushed in to fill the gap at 3 days' notice. I suppose it was some small testimony to my abilities at the time that I was able to walk into a gig like that with no rehearsal: simply 3 days of "woodshedding" the tunes, followed by a long sound check on the first show!
I have had an agent (I have one now, but mainly for photographic/acting jobs, which is another kettle of fish altogether). My "agent" failed to get anyone interested in me in the slightest.
Looking back over nearly four decades of life as a professional musician, I can honestly say that just about 100% of my work has been through first-hand referrals. In other words, the ultimate viral-marketing exercise.
I remember something one of my early benefactors (Muff Winwood, manager of Island Studios at the time) once said to me: "Never turn ANYTHING down! You never know where it might lead." And I took him at his word. I did pub gigs, club dates, small demo sessions, cabaret backing gigs, anything I was offered. Sure enough, within the space of 5 years my reputation had grown exponentially. I was starting to get some high-end recording sessions, people were contacting me for tours. In short, the word had spread. By 1978 I was recording master sessions. In 1979 I was offered a position in the the Tom Robinson Band: a time I will always cherish. We toured Europe, then the USA, and I gained an incredible insight into the workings of the Biz! Even though the band was tearing itself apart, I had the time of my life.
SO, by the late 70's I was experiencing life at the top end of the industry: major gigs, top sessions etc. I was on the books of several session "fixers" (as they are known in the UK - Union approved bookers who set up sessions for clients). By 1981, I had recorded sessions for Kate Bush, Judie Tzuke, the Tom Robinson Band, all of which had seen chart success. All of these referrals were by word-of-mouth.
By 1983 I was one of the busiest session drummers in the UK. I could work non-stop, if I chose. Clients were "fitting me in" based on availability. I was probably in the studio an average of 80 hours a week.
When I met Elton in early 1985 it was mainly because he had heard my work on Nik Kershaw's multi-million-selling "Human racing" album. Nik appeared as a guest on his "Ice on Fire" album, and during the session Elton asked Nik about me. Nik gave me a glowing reference, and the rest was history. I ended up recording 3 tracks for Elton in April of 1985. During those sessions, he asked if I would consider being in his band for a "little charity event I'm playing at Wembley." That turned out to be Live Aid! Later that year we went into rehearsals, and toured the world with that lineup for the next 18 months!
Basically speaking, all these referrals were almost exclusively by word-of-mouth. Of course, they were also "performance-based" - I couldn't get the work if I didn't have some ability to achieve what my client had in mind.
The one thing I've never really been good at through all this is SELF-publicity. Because the vast majority of what I did was based on third-party referrals, MY part was to simply do my job to the best of my ability. The rest just slotted into place. My resumé simply spoke for itself.
But that is not enough in the modern-day chaos of Internet publicity, social media and viral-marketing. So this old dog is learning a few tricks. For me to tap the truly enormous market out there, I have to be pro-active about it. This goes against the grain for we Brits!
I have a web site, two actually. My "fan" site is www.manicdrums.com. My work-related site is www.manicdrumsproductions.com. I also have FaceBook pages, both personal and a "Band" page, but I haven't really done much with either. I'm also on Google+, MySpace (who goes there anymore?), LinkedIn, Plaxo (whatever that's worth) and Manta. You'd think I would be flooded with referrals, but apparently it is not enough to simply HAVE these sites. You have to work them - intelligently. Which is why I am now learning all about how to drive people TO these places, and how to coordinate them to do the job for which they were intended.
This is one of the steepest learning curves I have encountered in almost 4 decades!
Back to work!!!
I've had a manager: he did nothing but price me out of the market and annoy my existing clients (much of which I only found out later). So I gave up that idea.
When I first moved to Nashville, I hired a publicist. She did a lot of great work, introducing me to all kinds of people - none of whom ever booked me for anything! In fact most of the time they crossed their arms and said: "I don't care who you are, it's going to take you 5 years to establish yourself in THIS town!" As a side note, I actually got the Trisha Yearwood 2000 tour by auditioning for the gig. even then, I wasn't originally chosen (it went to a "younger person"). When things didn't work out with that person, I rushed in to fill the gap at 3 days' notice. I suppose it was some small testimony to my abilities at the time that I was able to walk into a gig like that with no rehearsal: simply 3 days of "woodshedding" the tunes, followed by a long sound check on the first show!
I have had an agent (I have one now, but mainly for photographic/acting jobs, which is another kettle of fish altogether). My "agent" failed to get anyone interested in me in the slightest.
Looking back over nearly four decades of life as a professional musician, I can honestly say that just about 100% of my work has been through first-hand referrals. In other words, the ultimate viral-marketing exercise.
I remember something one of my early benefactors (Muff Winwood, manager of Island Studios at the time) once said to me: "Never turn ANYTHING down! You never know where it might lead." And I took him at his word. I did pub gigs, club dates, small demo sessions, cabaret backing gigs, anything I was offered. Sure enough, within the space of 5 years my reputation had grown exponentially. I was starting to get some high-end recording sessions, people were contacting me for tours. In short, the word had spread. By 1978 I was recording master sessions. In 1979 I was offered a position in the the Tom Robinson Band: a time I will always cherish. We toured Europe, then the USA, and I gained an incredible insight into the workings of the Biz! Even though the band was tearing itself apart, I had the time of my life.
SO, by the late 70's I was experiencing life at the top end of the industry: major gigs, top sessions etc. I was on the books of several session "fixers" (as they are known in the UK - Union approved bookers who set up sessions for clients). By 1981, I had recorded sessions for Kate Bush, Judie Tzuke, the Tom Robinson Band, all of which had seen chart success. All of these referrals were by word-of-mouth.
By 1983 I was one of the busiest session drummers in the UK. I could work non-stop, if I chose. Clients were "fitting me in" based on availability. I was probably in the studio an average of 80 hours a week.
When I met Elton in early 1985 it was mainly because he had heard my work on Nik Kershaw's multi-million-selling "Human racing" album. Nik appeared as a guest on his "Ice on Fire" album, and during the session Elton asked Nik about me. Nik gave me a glowing reference, and the rest was history. I ended up recording 3 tracks for Elton in April of 1985. During those sessions, he asked if I would consider being in his band for a "little charity event I'm playing at Wembley." That turned out to be Live Aid! Later that year we went into rehearsals, and toured the world with that lineup for the next 18 months!
Basically speaking, all these referrals were almost exclusively by word-of-mouth. Of course, they were also "performance-based" - I couldn't get the work if I didn't have some ability to achieve what my client had in mind.
--------------------------------------
Scrolling on..... to now(-ish). The one thing I've never really been good at through all this is SELF-publicity. Because the vast majority of what I did was based on third-party referrals, MY part was to simply do my job to the best of my ability. The rest just slotted into place. My resumé simply spoke for itself.
But that is not enough in the modern-day chaos of Internet publicity, social media and viral-marketing. So this old dog is learning a few tricks. For me to tap the truly enormous market out there, I have to be pro-active about it. This goes against the grain for we Brits!
I have a web site, two actually. My "fan" site is www.manicdrums.com. My work-related site is www.manicdrumsproductions.com. I also have FaceBook pages, both personal and a "Band" page, but I haven't really done much with either. I'm also on Google+, MySpace (who goes there anymore?), LinkedIn, Plaxo (whatever that's worth) and Manta. You'd think I would be flooded with referrals, but apparently it is not enough to simply HAVE these sites. You have to work them - intelligently. Which is why I am now learning all about how to drive people TO these places, and how to coordinate them to do the job for which they were intended.
This is one of the steepest learning curves I have encountered in almost 4 decades!
Back to work!!!
Hire this man and you will NOT be disappointed! I learn something new and wonderful about you all the time Charlie. I was in England in 1985 touring with Dr. Hook and we played "Human Racing" on the bus a bunch. Loved that record! You are the gift that keeps giving.
ReplyDeleteAmen brother. I would love to hire you sometime...now you can add blogging to that list. Thanks for the insight! Scott Gerow
ReplyDeleteCharlie! I just moved back to town. It will take me five years?! Crap! Maybe I'll buy a billboard! I've been playing w POCO for 8 years and I also own and publish Not So Modern Drummer magazine. We shoulud do a story on you. We'll have to get together.
ReplyDeleteGeorge Lawrence george@notsomoderndrummer.com
I worked with you right after the Tom Robinson Band era Charlie and after the first session I never used anyone else unless absolutely forced too - ain't that the truth!
ReplyDeleteCharlie is amazing technically and original creatively. His advice during sessions is invaluable as is his dry sense of humour.
I was one of the luckiest songwriters alive to have Charlie at the heart of my recording band with Clem Clemson, Andy Pask and Nick Glennie Smith. Nowhere in the world would you find better.
And Charlie holds it all together without breaking a sweat. I would not hesitate to say that either playing live or programming drum tracks Charlie is top of my list every time.
Great blog, Charlie. Real and revealing. But you need to be on Twitter, too.
ReplyDeleteTom, thanks. I AM on Twitter, in fact I Tweeted this!
ReplyDeleteGreat blog, Charlie, my congrats for your good job. You're one of the best drummers of the world (Jack Rabbit)
ReplyDeleteYo Charlie, wanna tell the folks about the sessions you've played for me. Actually my last production recorded at Dan The Penn's studio with David Hood on bass, Reggie Young on Guitar, Bobby Wood and myself on keys.
ReplyDeleteFolks I gotta tell ya, I decided not to restrict Charlie or the rest of the players with a click track. After recording the basic tracks analog on Dan's 16 track ampex tape machine we transferred the tracks into the ubiquitous pro tools. I then transferred the digital files into my Logic pro system and made up tempo maps for each song. I was astounded by Charlie's time keeping...I found that the fluctuations small and subtle, choruses lifting a little and then settling down for verses...lets the tracks 'breath' and gives them life. There are very few Master Drummers...Charlie, you are certainly are one. Tim Hinkley November 19th 2011
PS, If anyone wants a keyboard player most of Charlie's comments and stories apply to myself...just change the names i.e. Humble Pie instead of Nik Kershaw, Van Morrison for Elton John etc, etc.
ReplyDelete