How to Succeed as an Original Band

[DougD]

Most people wont get a lawyer because they don't want to pay the fees. That's a self defeating attitude. Why is it that people think that they need to have a guaranteed win in order to seek legal council? In this day and age you have to retain a lawyer (If you don't want to get screwed by anyone that is). There are no guarantees in life. If you get a lawyer it's a crap shoot. I get it. But nothing from nothing leaves nothing. At least you will have put people on notice that you aint the doormat they think you are. My $.02 is get a lawyer pay the man his fee, and get what's yours. If you have a good case, most lawyers will not charge you until there is a settlement. But you wont know unless you talk to one.

Want to jump back a page or 2 to the "get it in writing" stuff. I started a thread regarding the situation I'm about to write again about, but didn't get any solid answers. A lot of "GET YOURSELF A LAWYER" stuff, which isn't practical right now and would probably cost me more money than I stand to make. Plus I have no guarantee if I pay a lawyer that they're going to come up with a solution that we'll all agree upon.

I recorded a CD with a guy a few months ago. Wrote the bass parts. The drummer and I signed an agreement stating that any profits made on the songs will be split equally between us, even though we didn't write the actual songs, pay any expenses, or put in anywhere near as much work as this guy. This all originally started as a band, and has evolved into a solo artist thing, ala Springsteen. The guy who wrote the songs decided he wants to call it by his name.

According to the agreement we signed, which is worth crap to me at this point, I'm only getting an equal cut (should anything be made), so long as I'm in the band. That already almost ended when I told the guy there's no way I could rehearse the 3 days 10 hrs a week he wants to rehearse. This is HIS music and he's going to be obviously willing to risk a lot more in time and energy than someone who's simply supporting it. If I had some sort of guarantees, I might be a little more willing - but it's clear that I can easily put a lot of work into this and then have him one day simply say, sorry joe, I'm not happy with this situation. I'm getting myself a new bass player. It's happened to me before, and unfortunately I now trust nobody.

Anyhow, is there any possibility of any kind of insurance against this happening, without spending a bunch in legal fees? Has anyone come up with an agreement that makes sense and is fair for both the songwriters and musicians supporting the songs, that will insure a fare share for anyone putting their time into a project? If not, there needs to be. With making money in music becoming more and more difficult, I really need to ensure that anything I put my time into is going to at least have the potential to earn me some money. I can't put a couple of years into a band on a handshake.

I'd like to do this gig. I've considered telling him to just pay me, but I've got the sense he'll just hunt someone else down willing to do it for free... and I already have an investment.

Would like input.

 

[TRichardsbass]

I'm not a lawyer, although I'm a better lawyer then many I know.

I would need more details, but if you have an agreement that you share equally in the song profits then he is screwed and you should get your due. However, it might take going to court to enforce it in the future. You don't have to be with the band. Bruce Springsteen's new CD/DVD is proof of that. All the original agreements still hold for those recordings even though they are about a hundred years old now. You played on them, wrote your parts, and have a written agreement that any profits that come from them are split, and I'm assuming your agreement doesn't say anything about you being with the band or not.

I'm gonna ponder this a little more and say more later. Right now I'm heading to a benefit for another local musician.

 

[Joe Nerve]

Most people wont get a lawyer because they don't want to pay the fees. That's a self defeating attitude. Why is it that people think that they need to have a guaranteed win in order to seek legal council? In this day and age you have to retain a lawyer (If you don't want to get screwed by anyone that is). There are no guarantees in life. If you get a lawyer it's a crap shoot. I get it. But nothing from nothing leaves nothing. At least you will have put people on notice that you aint the doormat they think you are. My $.02 is get a lawyer pay the man his fee, and get what's yours. If you have a good case, most lawyers will not charge you until there is a settlement. But you wont know unless you talk to one.

The lawyer stuff is tough for a variety of reasons. For one, I've used them, and as Tom alluded to there's no guarantee they know what they're talking about, nor any guarantee that they're going to be helpful in any way whatsoever. Yet, I may very well have to fork over $500 - $1000, or even more just because I decided they might be helpful. That's a pretty big crap shoot IMO.

This particular condendrum seems to not have any pre worked out answers also. People at every level of the game get screwed monitarily with this stuff. Every day. In simplest form, I want to know what kind of written agreement I can get, if any, that if I put a crapload of time and energy into someone else's music (because I believe in, or love it), that I will be retained (or reap some rewards or compensation for my work) should the project ever take off. I know the chances of anything making mega money these days are slim, but I've been in situations where they did (more than once), where people became very big stars or made lots of money, and I basically got screwed.

 

[DougD]

I understand, trust me I do But I look at it a little differently that's all. An analogy would be, Mr big shot artist needs a bass player. He does not know if you are any good or not, but he needs a bass player, and is willing to check you out. He can't say, boy I really wish I had a good bass player, but I'm not gonna hire anyone because there's no guarantee that i'll get someone that can play the tunes. This is off subject but, I know people in my family (and circle of friends) that would pass up guaranteed millions because they won't pay a lawyer his commission. They'd rather be broke than give up 30% to the person that could go get millions for them? and they wonder why they can never get ahead in life

The lawyer stuff is tough for a variety of reasons. For one, I've used them, and as Tom alluded to there's no guarantee they know what they're talking about, nor any guarantee that they're going to be helpful in any way whatsoever. Yet, I may very well have to fork over $500 - $1000, or even more just because I decided they might be helpful. That's a pretty big crap shoot IMO.

This particular condendrum seems to not have any pre worked out answers also. People at every level of the game get screwed monitarily with this stuff. Every day. In simplest form, I want to know what kind of written agreement I can get, if any, that if I put a crapload of time and energy into someone else's music (because I believe in, or love it), that I will be retained (or reap some rewards or compensation for my work) should the project ever take off. I know the chances of anything making mega money these days are slim, but I've been in situations where they did (more than once), where people became very big stars or made lots of money, and I basically got screwed.

 

[MistaMarko]

I've skimmed the thread a bit, but I'll be damned to read through 16 pages with novel-esque posts on each one. Great thread, great reads (of what I managed to get to) -- I'll offer my tid-bit of information. I feel I have earned my position to do so with my band (we're signed, a few thousand album sales, national/magazine press coverage, multiple gear endorsements, this type of stuff. I'm not going to sit here and list our achievements because it can come off annoyingly cocky to people. Google 'Tetrafusion' if you're honestly curious).

Simply put, as quickly as the music-industry is doing a 180 in all aspects, you have to keep up with it just as quickly. We're a band that has solely thrived because of internet buzz. 100% dedication, hours in the computer chair, innovative internet promo, the whole works. It's about getting out there and earning fans one by one, and always being willing to talk to them like a normal person. It will earn you admiring followers in a heartbeat. Aside that, the internet is obviously the new wave of promotion, so utilize EVERY aspect of it that you can. Update the Facebook pages, post the Twitter status updates, post relevant YouTube videos, respond to comments, etc. Go through every magazine and website related to your type of music, get the contact information, email them, talk to them, make contacts, call people, introduce yourself, shove your band down their throat, be persistent, etc. etc. It's worked and paid off for us.

If I leave you with one thing:

The squeaky wheel gets the grease.

 

[Joe Nerve]

I understand, trust me I do But I look at it a little differently that's all. An analogy would be, Mr big shot artist needs a bass player. He does not know if you are any good or not, but he needs a bass player, and is willing to check you out. He can't say, boy I really wish I had a good bass player, but I'm not gonna hire anyone because there's no guarantee that i'll get someone that can play the tunes. This is off subject but, I know people in my family (and circle of friends) that would pass up guaranteed millions because they won't pay a lawyer his commission. They'd rather be broke than give up 30% to the person that could go get millions for them? and they wonder why they can never get ahead in life

I'm not doing this to argue, asking in all sincerity because I'm open to all and would consider a lawyer if I believed it would help. How exactly do you think a lawyer might be able to actually assist me, given what I explained to be my situation? I assume I'd have to pay for a consultation, regardless of whether they have what I'm looking for or not. To me it's very much like ordering a nice bass and the person selling it to saying it may ship, it may not.

If I had a contract, if I had some sort of clear deal going on where I had a clue what was happening, I'd use a lawyer. As mentioned, I have in the past, but how exactly do you think a lawyer would be beneficial in this situation. And again, not looking for trouble... serious question.

 

[JohnMCA72]

What an attorney can do is listen to what you want to achieve, write it up in a way that makes sense, satisfies legal requirements, & come up with some "what-ifs" that you might not. A good music industry attorney should be able to come up with some relevant "gotchas" that one without the industry experience might not. They can also give you some clue how likely the whole idea is to fly. Might even have it already done up, just fill in the blanks.

A lawyer is good help specifically for situations where you don't have a clear deal deal going on or a clue what's happening. Many will do a 1st consultation free, where they basically find out what it is you think you want, & suggest possible next steps (including fee schedules).

 

[knumbskull]

good thread, don't agree with all of it

if you're talking about how to SUCCEED - not how to be an artist or a good friend or have fun, here's how...

SUCCESS = genre music.

- pick a genre. make sure it's popular but clearly defined, with loyal fans. I'm thinking heavy metal, or country, or something similar... the fanbase should be broad but loyal.

- position yourself exactly down the middle - still 'credible' for the true fans, but catchy/mainstream enough to win over the casuals.

- think who you want to buy your albums, and dress like them. people want to identify. scene kids? get tattoos and eye makeup. or those fake tattoo sleeves, there's a thread about this somewhere

- write catchy, well crafted songs with DYNAMICS. they should sound enough like what's already popular in your chosen genre that those bands' fans will like you, but not so much that people shout 'ripoff!'

(this is important: if you can't do this yourself, get someone to help you. if you're going to do it yourself, think big picture - how do you want people to feel when they hear it?)

- play simply. most famous songs don't have mega chops in them. ideally you should use about 40% of your playing ability onstage. save the rest for jam sessions, your parent's basement, etc.

- make sure you're all on the same page, musically and ability wise. ideally you should all be about the same age, too. age differences in band lineups just looks weird and creeps people out. sorry but it does also if one guy's a death metaller, one's a hippy and one's a raver, it's probably not a goer. sorry champ.

- if someone's a flake, kick 'em out. people don't change and bad musicians don't get better - at least not on the kind of timescale you're working to.

- don't get a manager who hasn't managed a band before to some degree of success. and don't get your bar buddy to do it. he'll suck at it.

- get some money. like, a lot of money. you'd be amazed how few bands get anywhere without some kind of independent investment. bank loan, inheritance, rich parents, 2nd mortgage...what for? well...

- hire a radio plugger
- hire a publicist
- hire a booking agent

this is assuming you've recorded something worth releasing, and have gone on tour. if you haven't, do that now.


...so now you're a tight, professional looking band with great songs who are on the radio, playing proper shows and getting some press. you're also thousands of dollars in debt, unless you went the 'rich relative' route.

congratulations - you'll either step up to the next level, become national and then international stars, or you'll fizzle out when your record company shelves your album in favour of the next short-lived youth craze, and end up working off your debts as a bank cashier. horray for rock 'n' roll!

 

[TRichardsbass]

good thread, don't agree with all of it

if you're talking about how to SUCCEED - not how to be an artist or a good friend or have fun, here's how...

SUCCESS = genre music.

- pick a genre. make sure it's popular but clearly defined, with loyal fans. I'm thinking heavy metal, or country, or something similar... the fanbase should be broad but loyal.

- position yourself exactly down the middle - still 'credible' for the true fans, but catchy/mainstream enough to win over the casuals.

- think who you want to buy your albums, and dress like them. people want to identify. scene kids? get tattoos and eye makeup. or those fake tattoo sleeves, there's a thread about this somewhere

- write catchy, well crafted songs with DYNAMICS. they should sound enough like what's already popular in your chosen genre that those bands' fans will like you, but not so much that people shout 'ripoff!'

(this is important: if you can't do this yourself, get someone to help you. if you're going to do it yourself, think big picture - how do you want people to feel when they hear it?)

- play simply. most famous songs don't have mega chops in them. ideally you should use about 40% of your playing ability onstage. save the rest for jam sessions, your parent's basement, etc.

- make sure you're all on the same page, musically and ability wise. ideally you should all be about the same age, too. age differences in band lineups just looks weird and creeps people out. sorry but it does also if one guy's a death metaller, one's a hippy and one's a raver, it's probably not a goer. sorry champ.

- if someone's a flake, kick 'em out. people don't change and bad musicians don't get better - at least not on the kind of timescale you're working to.

- don't get a manager who hasn't managed a band before to some degree of success. and don't get your bar buddy to do it. he'll suck at it.

- get some money. like, a lot of money. you'd be amazed how few bands get anywhere without some kind of independent investment. bank loan, inheritance, rich parents, 2nd mortgage...what for? well...

- hire a radio plugger
- hire a publicist
- hire a booking agent

this is assuming you've recorded something worth releasing, and have gone on tour. if you haven't, do that now.


...so now you're a tight, professional looking band with great songs who are on the radio, playing proper shows and getting some press. you're also thousands of dollars in debt, unless you went the 'rich relative' route.

congratulations - you'll either step up to the next level, become national and then international stars, or you'll fizzle out when your record company shelves your album in favour of the next short-lived youth craze, and end up working off your debts as a bank cashier. horray for rock 'n' roll!

While you end on sort of a, well, sarcastic high note, you actually hit on some good points and there are true gems worth mining here. For me, the "investment" lines. Not so much about how much and who, but the mere fact that success does require investment. Personal time. Musical time. More money then you think. Business sense and research. All of those are effort and require personal and financial investment.

Success=genre=INVESTMENT!

Thanks from across the pond. Maybe we can meet at your place some time!

 

[CostaBass]

Great posts

I think a good way to have successful originals is to keep some danceable. Having songs where people can put there hands together and move there feet is big plus. Having a songs with a strong downbeat. I may be mistaken isn't that bootsy's bassic funk formula?

 

[knumbskull]

While you end on sort of a, well, sarcastic high note, you actually hit on some good points and there are true gems worth mining here. For me, the "investment" lines. Not so much about how much and who, but the mere fact that success does require investment. Personal time. Musical time. More money then you think. Business sense and research. All of those are effort and require personal and financial investment.

Success=genre=INVESTMENT!

Thanks from across the pond. Maybe we can meet at your place some time!

ha! well give me a shout if you're in town

thanks. i was being a bit sarcastic but i am serious about most/all of those points.

the investment thing is more true than ever, i think - gone are the days when cigar chomping bigwigs pluck bands from obscurity and give them huge advances. these days it seems labels want bands to have reached a certain level of success before they'll even look at them, and hiring radio pluggers etc. is about the only way to do this...

i know of a local band (well, local as in London which has about a bazillion bands, but still...) - anyway, they put themselves six figures out of pocket paying for festival buy-ons - paying thousands of pounds to play fests like Ozzfest and so on. don't know how far it got them career wise, must've been fun gigs though...

 

[knumbskull]

...oh and yes, that means investment BEYOND just gear/time/touring costs/recording costs/pressing CDs/merch/cost of living. it's an expensive business!

 

[TRichardsbass]

...oh and yes, that means investment BEYOND just gear/time/touring costs/recording costs/pressing CDs/merch/cost of living. it's an expensive business!

Being a musician is a very expensive business.

As for being in town, I'm in London several times a year, so be forewarned!

 

[TRichardsbass]

I want to thank my friend and music journalist Gary Wien for today's nugget of wisdom.

GET TO KNOW WHO THE MUSIC JOURNALISTS AND WRITERS ARE IN YOUR AREA, JUST OUTSIDE YOUR AREA AND IN YOUR METROPOLITAN AREA! AND GET TO KNOW THEM!

Gary posted a comment on his Facebook page that pretty much lamented about the fact most original bands in our area have no idea who the media people are. He is right. And original bands that don't know where the press is and who they are do so at their own peril.

While Facebook, MySpace, YouTube and Reverbnation have made it very easy for original bands to bring their music and talent to the masses. However, unless you know who the heck you are looking for, you'll never find that local band by just Googling or putting in your musical taste. The music media journalists are still ultimately important, and in some ways maybe more so. Gary is very important for bands in the Asbury Park-NJ-NYC area.

You still need and advocate and a voice pushing you. Unless you have tons of money to buy ads and commercials on the internet and TV, you need someone who reaches those masses to help you. Enter the journalists. They make their living going to shows and finding the next big thing. They chronicle the rise of the new bands, the fall of the old bands, and just give everyone a look and some much needed coverage. In my area most of the music press comes from a rag called "The Aquarian". But I know just about no one in the original scene here knows who the writers are, and definitely don't know who is assigned to cover our clubs and area. Its a shame.

My first band got its first break after a lowly local journalist was sent to cover a Toasters show, of which we were the second act on the three act bill. The next day the writer's column turned out to be mostly about us, not the Toasters. From that we got inquiries from labels, managers and promoters. Off we went!

So my advice today is to find all the music and entertainment coverage in your area. Learn who the writers are. Go and meet them. Stay in contact with them. Send them your stuff, invite them to shows, keep them up to date with what is going on. When they write something about you, good or bad, send them a note thanking them. Keep inviting them to shows. Tip them off to shows of other bands that they might like to write about.

It never hurts to have someone who writes as a big fan. Especially for original artists.

 

[txbasschik]

...great songwriting, catchy modern-rock type stuff - but the vocalist, while a great (IMO) writer and guitarist, couldn't sing in key to save his life. And he couldn't own up to it, either.

This is the problem for us...the only problem, really. The songs are good. The musicianship is good. The singing is DREADFUL!!! They're his songs, so he wants to sing them. Won't let me pick any up. (I could easily do the ones that aren't, like, total man songs.) Won't let us hire a male vocalist. The singing is the only real complaint any of the fans have, but...you can't tell him that. He gets all upset, talks of how hard he worked to be able to sing, how he used to have a vocalist back in the day and the guy tried to snake the band out from under him...trust issues.

As we work to write, arrange, and record these songs, I'm torn. On the one hand, I'm getting great experience with writing and in the studio, and am working with a drummer who is not only an awesome player and really good guy, but who spent his career drumming for a band that is a classic rock legend from the 70's. How great is that? But on the other hand...if we let our songwriter do all the singing, we'll never get anywhere. No one wants to hear nasal and flat.

Cherie

 

[Tendollarcat]

Sorry to say it but in original bands, vocals are key. If you lack a singer with a distinctive voice, people aren't going to buy your product. This is one differentiation between covers and originals. A covers singer can get away with it because an audience will typically sing along. In original music, how will an audience develop a desire to sing along with something that isn't compelling?

Unless you are clearly seeking an instrumental niche, you need a voice in the band. And that voice doesn't need to be 4 octaves and wailing. It just needs to be the pathway to - "Hey I know that band. Thats band X". I've heard people use all manner of excuses for the main songwriter singing badly. The whole - "It worked for Bob Dylan" and "My lyrics will hook them" and "But this riff kills".

Put yourself in the shoes of an average audience member. He/She doesn't know you are using a Ritter through an Aguilar rig. They don't know the guitarist has tuned down to C. They don't know the drummer is using a triplet pattern with his right hand. The emotional connection to other humans is via the voice first up. It's like heading to a first date with no front teeth and expecting someone to find you attractive

 

[TRichardsbass]

Sorry to say it but in original bands, vocals are key. If you lack a singer with a distinctive voice, people aren't going to buy your product. This is one differentiation between covers and originals. A covers singer can get away with it because an audience will typically sing along. In original music, how will an audience develop a desire to sing along with something that isn't compelling?

Unless you are clearly seeking an instrumental niche, you need a voice in the band. And that voice doesn't need to be 4 octaves and wailing. It just needs to be the pathway to - "Hey I know that band. Thats band X". I've heard people use all manner of excuses for the main songwriter singing badly. The whole - "It worked for Bob Dylan" and "My lyrics will hook them" and "But this riff kills".

Put yourself in the shoes of an average audience member. He/She doesn't know you are using a Ritter through an Aguilar rig. They don't know the guitarist has tuned down to C. They don't know the drummer is using a triplet pattern with his right hand. The emotional connection to other humans is via the voice first up. It's like heading to a first date with no front teeth and expecting someone to find you attractive

Thanks Tendolla for chiming in. I think you make a good point. Its not how super you are on your instruments, how much they cost or who owned them before you, its about making the emotional connection. And in order to do that you have to have the whole formula. Singer included.

In several incarnations of bands I've been in and led, I have often taken the back seat to a better vocalist or a front man or woman who had more appeal. I had a very short lived band that had a very smokin' chick singer who just ooozed sex, sensuality and smoky rock with every syllable that came out of her mouth. She was good, not great, as a vocalist, not flashy, but boy did she fit the mold. We played two shows without much advertising, and just word of mouth about her got us two months of sold out local gigs at some very respectable rooms in NYC. She had it all, and the band zoomed forward.

Note: She was a flake, and a week after our sold out stint she disappeared. She turned up four months later, I found her in Sedona, Az worshipping crystals. Oh well, could have been great.

Back to the topic, its about the band as a whole, not about the songs, the musicianship of the individuals, or egos.

 

[dj150888]

I don't know if its been covered before, but since we're coming up to our latest album launch, its something we're dealing with a lot right now. Dealing with the music press.

Interviews will take up a LOT of your time. After a few, you'll quickly realise you get asked the same sorts of questions in a lot of these interviews. Keep a template of these basic answers, it'll save you a bundle of time. These generic questions are your chance to let people know what you're really about. Don't just answer them flippantly and off the cuff. Take your time, really think about how you can maximise the effect of your answers.

Say, for example, you're asked who influences you as a musician. This is a fairly common question. Instead of just listing off a few random musicians who you like, think about the ones that have a crossover appeal with your music. If you're playing R&B music, I wouldn't bother mentioning that you're influenced by _____ from such and such a death metal band, the same works vice versa. The people who want to listen to your music aren't going to know who that is, the people who know who that is probably aren't going to want to listen to your music. You want to create connections in peoples minds that make them listen to your music, not just show off your underground credentials. This needs to be balanced out with not just naming the same generic few bands that everyone else names - you want something to intrigue the readers, get them thinking, make them curious!

I think that honesty is very important in interviews as well. Don't bull**** the interviewer, because theres a risk that the next interview you'll contradict what you said in the last one. Remember, if you're dealing with an album launch or the likes, a lot of these interviews and features will be coming out around the same time. The most common thing I've seen people trip on here is when they're asked about their favourite show in the past/favourite places to play. When dealing with international press, you may be tempted to say the place the magazine is based - thats pretty clever, eh? The people reading will think their country is your favourite and that'll endear them to you? That works until someone reads a few interviews and realises that you've listed a different favourite every time you've been asked.

If you're doing telephone interviews, be prepared ahead of schedule, just like a written one, don't expect to do it on the fly. If a question comes up that you don't want to commit an answer to, don't. To give a personal example again, one of the interviews we did recently was quite different to the usual. Since we're Irish and play with certain Irish folk influences on our music, the interviewer asked a lot about our Irish heritage, which was fine. We promote the fact that we're Irish and take a great deal of pride in that. However, the interviewer went from this into questioning certain political beliefs of the band. Coming from Northern Ireland, there is still a political divide. By openly committing to a hardline political belief either way, we could have potentially alienated half of our domestic crowd. Instead of answering with a straight up answer and divulging my own personal politics, I gave a general non-commital answer about how we're proud of our culture, but our music is in no way connected to politics.

The next thing - be prepared to exploit anything remotely, "different" about your band. You don't need to make a gimmick of it, but if it gets tongues wagging and doesn't undermine your integrity, then make sure the press are totally aware of it. Again, to coin a personal example, the style of music I play (metal), tends to be very male-driven. Usually, the only female members seen are the occasional female vocalist. Our drummer and one of our guitar players are both girls. We always make sure that one of the photos we send for a feature has both of the girls clearly visible in the foreground of the shot. Its a unique selling point, let people know about it.

Just remember, your persona when conducting interviews should be representative of your band. If you want your band to be taken seriously, don't waste your interview making penis jokes. If your band is a bit whacky and based on a gimmick or two, don't spend the interview talking about serious philosophy. You're talking as the band, not as yourself, remember. Talk about things that are relevant, things that your audience want to hear and above all, things that promote you well.

I can develop this further when I get a chance, though it may be better if Tom takes over. He writes with much more focus on these topics than I do. Hopefully I've laid enough of a skeleton down to let someone else write this up properly. I haven't had the time to sit and write it up well, this has (probably quite obviously) been written off-the-cuff as I go, but it should get you thinking.

 

[JohnMCA72]

I take interviews a step further. I go in with my answers prepared, never mind the questions. The way I look at it is, I have my message that I want to get out. That's my whole reason for being there at all. No matter the questions, I'll try to steer the discussion in the direction I want it to go. Kind of like the Irish political question above, but applied to all the questions if necessary. I'll have my own list of things I want to say, & make sure I get the chance to say them.

I also go in with a printed list of sugggested questions for the interviewer, as well as a background one-sheet with brief, basic info. Most hosts don't have a clue, & they're happy as clams to have somebody go to the trouble of preparing their questions for them in advance! They'll usually reword things a little to suit their own style, but that's OK. What they really want is good radio (or TV), which is not somebody sitting there like a bump on a log, nodding their head & giving one-word "answers". They want you to talk, so oblige them! Give them a good interview, and get your message out!

For a textbook example of this, watch any politician being interviewed by the press. They don't react & respond to the interviewers' questions. They already know what they want to say, and make darn sure that they say what they want said, not necessarily what the interviewers ask.

 

[TRichardsbass]

OKAY! Thanks DJ, from Ireland!!!!!!!!!!!!! Welcome to the fray!

First, please let us know when your album is coming out, and what it is titled so we can all get a copy of it and help you keep your career moving forward.

Your post is a perfect reply to my post about knowing who the writers and journalists are who might cover your music and geographic location. And I don't think I really have a ton to add to your post. It is probably as perfect as it can be, from a person in the middle of it. You speak from experience, and you speak it well.

Working with the media is something that just about no band, original or cover, ever really puts much thought into. The media will make or break you, especially when you are on the cusp of something bigger. (I won't bore you with the story of the time where a band member said something political and inappropriate that sunk in a minute a very promising project that was just getting on its way.)

Interviews are a good way that you can get your band persona and message out, and you have hit all the right points. Don't BS your way through. After a while keeping track of the "lies" is impossible. Absolutely, the entire band should rehearse or know what the talking points are. Usually most bands have someone, like the front person, do all the talking for the band. If you are in a more democratic band, make sure everyone can talk and present what you all want presented. That way, no matter who winds up getting the interview, or who runs into a reporter unexpectedly at someone elses show but gets asked a few questions, the answers are what you want them to be and portray.

And I agree with JohnMCA, always have a copy of the standard questions and answers with you at shows and interviews. Not only to help the interviewer/DJ with his show and interview, but also to leave behind so that when the writer writes their review or article they have something to refer to and use that has your answers on it. The only thing I would suggest is to politely offer it up with something like, "Hey, I know that this is going to be a great interview, and you may not cover all the things you would like in the time you have. I have some background information printed up I'd like to give you to make your job a little easier."

But enough from me. DJ and John have really done a better job then I can in discussing this important topic.

I'm going to have a Guinness and some Irish whiskey to salute you!