NAMM show 2012

Now the dust has settled on this year's NAMM show, I thought it was about time to write about my experience.

As usual, the background noise level was incredible.  One friend of mine was playing guitar through an amp and the "Noise Police" arrived with a decibel meter.  They told him he would have to turn down because his volume was 80db.  So he asked them to take a second reading, during which time he didn't play a note!  Guess what?  Still 80db! DOH!

I was on the NATAL drum stand for most of the show, which was incorporated with Marshall this year.  2012 being Jim Marshall's 50th anniversary of being in the Biz, this was quite a big deal.  In fact Natal had made a 50th Anniversary (limited edition of 50) drum kit, comprising the Marshall black Tolex covering and gold hardware.  It was a focal point on the booth.  I must say, from a personal point of view, I am loving these drums! I have a maple kit and I am continually amazed at its versatility and great sound, not to mention the hardware. The snare stand is the most versatile I have ever encountered. The hi-hat stands are responsive and adjustable, and the cymbal stands are solid & well finished.

I was put to work conducting interviews with various publications (both on line and printed). Music Radar just uploaded their NAMM report. All in all, Natal created quite a stir at the show.

One of the busiest stands in the drums & percussion section was that of my old friends Big Bang Distribution. Apart from the Ahead sticks (which I have been playing for some time, and love), the new Ahead Armor cymbal bag range (very exciting), their low-cost (and yet great sounding) Kasza cymbal line, they have a huge variety of great accessories for drummers.  But the most exciting new product was a collapsable cajon!  This full-size cajon, made in Barcelona, Spain, fits into a flat bag that is easily carryable, and yet sounds as good as any of the best cajons on the market!  Watch their web site for updates.

Brady drums were present with their usual selection of high-end, no compromise drums.  I managed to spend a few minutes chatting with Kelly Brady.

I was also able to visit with Axis Percussion's founder and innovator: Darell Johnson. He and I go back a way, and he was in his usual high spirits when I arrived at the stand.  I love his endless enthusiasm and keen mind.  He is truly one of the great engineering innovators of new drum ideas. Check out what they have to offer:  again, drum engineering without compromise or equal. I am still using a set of Axis pedals (double kick and hihat) from the early 1990's!

On Saturday afternoon I managed to meet with my old friend John Steven, who is with Behringer. He was very interested in what I thought of their latest foray into the drumming world: their electronic drum kit: the XD70 (and their entry level XD60LE).  I played the kit for a while, and found the response to be extremely "realistic."  They have separate drum & cymbal pads, each with their own unique feel. The controller is very logically laid out and sounds are easy to access.  The best part is it all packs away into an extremely compact space, making it easy to store, or (for my needs) transport to a gig.

Behringer are also about to announce a new range of high-end consoles, which include the ability to interface & record live shows direct from the console itself.  I'm very excited to see these when they become available.

I'll post more reviews as my brain gets to digest the enormous amount of data from the show.

Are you Serious?

The first band I joined (in 1973) was a Rock 4-piece by the name of Renegade Jones.  I was the "baby" of the band, being a mere 18 years old.  The rest of the guys were around 25, which (for me at the time) was OLD!  It's all relative, of course!

Adrian Pearce was the lead singer, guitarist, Neil Beshuri on lead guitar & vocals,  and Paul Dunne on bass/vocals. We had a manager: Laurie Jay (ex-drummer of 60's group, The Echos and replaced in that group by a certain Ringo Starr!).  He really fit well into that stereotypical manager image: larger-than-life, effusive, cigar-smoking impresario-type.  A loveable rogue.  But he was also a networker.

One of the first "gigs" he got for us was a residency at Hatchett's, a West-End night club owned by a friend of his (of course).  We played there 6 nights a week for several months - from 9pm until 2am. I can tell you it was an eye-opener for me!

Just an interesting side note: about a block away from Hatchett's was the only place you could get a bite to eat late at night.  It was an American-Style diner - and there was a 1950's cadillac sticking out of the front of the building!  The name of this place?  The Hard Rock Cafe.  Yes,  this was the original Hard Rock. The one that started it all. It was ideally located to serve hungry people on their way from all the theatres & clubs in the West End of London.  What a piece of genius: judge the market and exploit it!

SO, there I was, barely 18 and playing a night club with a rock band.  I must say, I was pretty happy with things.  of course the pay was derisory, but that didn't worry me in the slightest. I was a professional musician!

I must admit, though, the novelty soon wore off (for us all). Hatchett's was one of the many "pick-up" joints in London.  The crowd were not exactly interested in us.  Playing for hours on end to a motley group of people, drinking, talking and ignoring us wasn't what we had in mind when we turned Pro.  We were wallpaper, background, decoration. After a few weeks we got a little lackadaisical about our playing: jaded, tired, slapdash (no more so than the Beatles did at the Star Club in Hamburg, by the way.  If you've heard any of the recordings of their time there, they weren't exactly being serious about their craft, either).

One night, Laurie paid us a visit (for the first time since he'd installed us there).  He sat at the bar & watched a set.  When we got back to the minute dressing room for a break, he burst in, face purple with anger: "Are you serious?" he said.  We laughed, embarrassed and unsure.  We didn't really know how to interpret what he was saying.  He repeated: "Are you SERIOUS?"   "About what?" said one of us.  "About this crappy place?"  Laurie's face turned an even darker shade of purple: "No, you idiots, about being professional musicians! You look like a bunch of jokers out there.  You're not entertaining anyone."  "But they're not interested in us." we said.   Well I thought Laurie was going to burst a blood vessel! "No, you fools! Of course they aren't!  But if YOU are serious about being entertainers, then that's what you must do:  ENTERTAIN!  It's up to them if they listen or not, but at least you could give them something to LISTEN TO!"

At that moment, I got it!  I think we all did.  The next set was a considerable step UP on what we had been doing before.  I watched Laurie at the bar - he gave us the thumbs-up, as if to say "That's what I meant!" We played as if we were at Wembley Arena, performing to packed house of dedicated fans, all there to see us, and only us!

Later that year, we got a tour of American bases in Germany.  In fact we spent Christmas & New Year of 1973/74 in West Germany, playing 6 nights a week, 5 hours a night to American soldiers.  Apart from the van breaking down on the way to the first gig - on the German autobahn in a freezing blizzard (and having to airfreight parts out to fix it), and the roach-infested hotels we were put in, we had an amazing time.  First, the GI's listened.  They "dug" us, they befriended us, and they wined & dined us. We learned a huge number of extra songs they requested, specifically because they'd buy us drinks & burgers to say "thanks" when we did.  They would accompany us to the PX store, where we could buy heavily discounted goods (US military subsidised). Wed been seriously ripped off by the agency that booked us, and our pay wasn't exactly enough to get by on,  so this was really welcome. In fact we would not have made it through those months if it hadn't been for the soldiers' generosity.  And every show we played was fully-committed entertainment.

So... "Are you serious?"  -That stuck with me forever.

Laurie went on to manage a number of artists, including Billy Ocean & Shirley Bassey.
Renegade Jones ended up splitting due to "Musical Differences" (actually more like not being able to make ends meet). We were driven (literally) off the road by mounting gas prices eroding our weekly wage until it was no longer viable for us to tour. But it was an amazing grounding for what was to come - for me anyway. 

To publicise or not to publicise...

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.

--------------------------------------

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!!!

Rick Springfield: Hard Rock Velvet Sessions

How to tap into the pulse of the People?  Deliver Rock & Roll in its purest form to them.

This is what Rick Springfield did on Friday night at the Hard Rock Hotel.

As a songwriter, Springfield has always piqued my interest. He writes Pop songs in the truest sense of the word: riff-based Rock with lyrics about everyday life.  Stuff his fans relate to - understand. But it's the whole package that they really go for: he is living that Rock & Roll dream to which they aspire.

Friday's "Velvet Sessions" in the lobby of the Orlando Hard Rock Hotel was packed to bursting point.  The tickets were at a premium, but I managed to pull a few strings (having played the Velvet Sessions a couple of times, myself).

The excitement was tangible. This was a huge draw, not that they haven't had great acts here in the past, but this was as big as I've seen in a long time (especially given the current state of the economy).

Rick didn't leave his fans waiting for long.  He came on just a few minutes past the posted showtime, heralded by an opening pre-roll that built to a climax. It was LOUD! Not painful, but enough to turn everybody's attention to the stage. And he delivered: from the very opening guitar riff, to the last dying chord. he was accessible to the crowd, too. He reached out to them - laughing, cracking jokes, chatting with the people squeezed into the front few rows. He kept teasing the fans with the opening riff to "Jessie's Girl" - then, with a cheeky smile and a sideways glance, he'd launch into something else. Of course, he saved that song until last, not that he's a one-hit-wonder: there were plenty of recognisable tunes beforehand.  He's written his fair share of great songs (at least in my opinion).

His band were totally committed: delivering high energy, enthusiasm and tightness. Backup vocals were spot-on. They changed tempo and pace in slick, well-rehearsed fashion, backing up their "star" the entire time. And he was laughing & joking with them: they were an integral part of the whole spectacle.  He brought them into his world, if only for a few minutes. They were living the Rock & Roll dream.

This is the key: Entertainment.  He never once forgot that he was there to entertain those who had taken the trouble to come and see him.  He's been in this business since the 1960's, and yet his attitude is fresh, flirty and fun! His fans left the Velvet Sessions on Friday night,  feeling satisfied.

DrumLoops as downloads

I've just posted two albums of drum loops on vibedeck.com 
You can download individual loops (after reviewing them using the streaming player) or each of the collections as albums.  Let me know what you think. also let me know what you'd like to hear in the way of future drum loops

Natal Drums

I have recently been approached by Natal Drums, who have expressed an interest in me endorsing their product line.  After a very positive talk with their artist liaison, I am pleased to announce I am to become part of their roster.  I am very excited.  They have a wonderful new drum product line, and great support worldwide.  I hope to be pro-active in the development of new drums,  and also hope to be able to promote their product with clinics and master classes.

After 31 years as an official Premier endorsee (is this a record?), I realised that they were no longer able to provide the support I needed in the USA. I have watched their recent progress with mixed emotions.  I wish everyone at Premier well, and thank them for everything.

MIke Dolbear's recent review


The Drum Decade: Stories from the 1950's

Ringo Starr: more thoughts

After the dust settled on last night's first performance of the "new" Mystery Trip band, in Woodbury Tennessee, I had time to reflect on it.  While I was driving home in the freezing conditions, I mused that it took a kit with 4 toms and 2 snares to even come CLOSE to re-creating the different drums sounds Ringo had on those albums, which were, when you look at it, all recorded in a mere 7 year period.

It still amazes me just how much the Beatles changed the way we listen to (and record) music in such a short time.  The same goes for Ringo (and to a certain extent, engineer Geoff Emerick).  If the truth be known, I would probably have to have had at least 3 kits to accurately recreate the evolution of Ringo's drum sound.  From the relatively standard drum sound of the early sixties, to the experimental sounds from Rubber Soul onwards, Emerick and Starr were constantly trying new methods of miking, damping tuning etc...

We owe them everything we do now!

Here, There and Everywhere: My Life Recording the Music of the Beatles
All You Need Is Ears: The inside personal story of the genius who created The Beatles
British Audio Engineers: Geoff Emerick, Glyn Johns, Steven Wilson, Alan Parsons, James Guthrie, Nigel Godrich, George Shilling, Nick Launay

Ringo Starr: A Life
The Ringo Starr Encyclopedia
Ringo Starr, Second Edition (Beatles)