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Discussion in 'Bassists [BG]' started by Mitchthebassplayer, Jan 19, 2010.
Portrait of a train wreck:
In a word: Yes.
...what is a radio gaga?.. if I recall correctly Queen had a song called "Radio Gaga".
She looks like a typical commercially formulated product generated to induce hype with the general "american idol" crowd with little to no sense of soul or talent detection.
In regards to auditioning, great job and chalk it up to an experience... 99% of those are looking for that typical "pop-culture look".. I'm not even sure what that look is.. but it generally is a guy with his hair all gelled and confused and skinny as a rail.
On the Gearslutz board, her producer, Greg Wells posted about making that album. IIRC, it was pretty well just the two of them. He was extremely big on her talent, and was adamant that Katy Perry has pipes.
And as far as both Lady Gaga (yes, her nickname was from Radio Gaga) and Katy Perry go - I'm happy to here songs with strong choruses again.
Here's Gaga and Elton John doing a duet at the Grammys:
Happens a lot. Ted Nugent (who is a very good guitarist) says he got tired of making good music and starving to death. So he cranks out some one-chord stuff in A and pushes the image, and look what happens. He makes a living playing music.
I haven't read through the whole thread but I thought I'd chime in:
I went to NYU when she was playing around there (by the time I met her she had dropped out to pursue music full-time), and answered a facebook message looking for bassists to audition for a singer-songwriter.
I showed up to a sketch basement studio on Ludlow and jammed through with a couple guys I had seen in other bands/around my dorm. This was the basis for that band on the youtube video circulating from the bitter end.
It was a smoking jam, she was awesome, knew exactly what she wanted, and listening through Fame, I remember learning a couple of those on the fly. I think I even posted about this way back when because I was so excited. For the second day, another bassist that I had been on a couple things together showed up for the audition as well... and the dude smoked me. I cringed when he walked in the room. Just funkier and more experienced than I was on the whole. I wish I could go back and have 2010 me audition instead. Oh well.
Long story short, I bumped into bassist who got it at a party and asked what happened with it. He said they played a couple shows and recorded a demo out in jersey, but "nothing ended up happening with it." Clearly.
So to clarify: Girl's got chops. That is all.
edit: for verification, this was my Sophomore year around the spring of 2006.
Indeed. Check out the Amboy Dukes, Ted's first big-time band. They were killer!
which one.....round here migration was popular but not much else...jttcotm excepted
"Gaga" is another way of saying "caca" - popular in many european languages.
you have no idea how much I wish i were kidding...
Yeah, and The Amboy Dukes were playing small clubs like The Nightcap in Bloomington, Illinois for chump change. He writes drivel like "Croth Rot Fever" and he makes a lot of money. Same with Peter Frampton. All the money he made from "Comes Alive" went to the record company to repay the costs of his previous three albums that were very very good, but stiffed on the market.
I'm European - I don't know what that means. Which languages are you talking about - Albanian, Hungarian?
Gaga could mean a gape at something - wide mouthed with shock. Or it could mean insane, crazy. You could say that someone had gone gaga, meaning crazy.
She can sing, no doubt.
Just to clarify, Milli Vanilli did indeed take a lot of heat for the "Skipping backing track" incident, but that's not what killed them in the eyes of the public/got their Grammy returned, etc. It was the revelation that they didn't sing on their own album! It may be a big difference for some and a not-so-big one for others, but it *is* a difference.
As for taking a gig with a pop star at her level - hell, I've taken gigs with "Pseudo-musicians" who were nowhere near her level. A close friend was MDing a Rock/Industrial/Dance artist (think NIN circa "Pretty Hate Machine" but with perpetually pitchy vocals ) and I took the gig because it was playing with him and his brother (another good friend and both fantastic musicians) on drums, the songs were better-then-average which we improved upon by upping the "Rock Trio" side compared to the "synths/loops" side, it got me a large amount of studio time and some showcase gigs to put under my belt, as well as my next two gigs after that by word-of-mouth/contacts. So unless it was traveling in the back of a van, I'd absolutely take almost any gig. Most likely someone will be at those shows digging the music, and that's a large part of why I do what I do.
There are some jobs that your gut will tell you, "Say no." But mostly a yes is the smart answer - gets you out there, you'll meet new people (get their conatct details), gets you seen (get someone to take photos please - if I'd taken photos of me with all the guys I worked with in the 60's that would have been super cool - 5 years later and even today). Use the gig as a platform for getting more work. Make friends with everyone but don't lick up. Take the money - people who work for the buzz, the girls, and the ego are running a hobby. Getting paid is good business - trust me you'll eventually want to move out from mom and pop. Keep score of your good work - use it in your 15 second CV next time someone asks what you've been working on. You do have a 15 second verbal CV ready to go don't you? ( How do you make someone money, save them money or build an audience - assuming you can play, these are the three things any promoter, agent, theatre, venue, management, wants to hear from you - they want you to make them more money than they pay you.)
that's a really good description of every non-government job in the whole world ever.
Many would have you believe that its all worked with higher motives. Well sometimes it is. When we are in love, how we love our children and friends, how we spend our leiesure time, how we give to charity. But I'm talking work, business, paid gigs. Someone is paying - and that someone has motives for what they are doing. If you can't meet those needs you don't get the gig.
Finding work is easy if you understand the 'buyer's' motives and agendas. Find out what the 'buyer' really, really, needs and see if you can be the one to fill that need. How? Ask questions, talk, delve, think, and then see if what you do matches what they need. Of course to do that you need to be asking and listening.
Were you were too busy playing and showing them what you got instead of asking and listening? Mostly that's what happens at auditions.
Try talking to the guys organising the auditions and finding out what they are REALLY looking for. Don't be afraid to find out what they want, isn't what you do - turn it down and tell them why and better still - give them a steer to a couple of guys who are exactly what they want. That's how guys become the 'go-to' for players. The buyer will get to know that you know who's who, and if you can't do it, you'll give him some guys who can. You'll always be on the phone lists for gigs as a useful contact.
If you can do more than they want be careful you don't end up showing them everything. Only show them a couple of things you can do that could really help. Don't show off!
Try to help everyone at an audition and make sure you keep collecting details of people you like, people you would want to know for a long time - these are the guys you'll want to feed into a gig when you're the 'wrong' guy.
Don't take on work you can't excel at - give it to a better player - be known for being good at three things not average at everything. Be a 'go-to' guy for promoters, managers, anyone who books players. That way you get to see all the work in town and pick the best stuff you should be doing and avoid the stuff your bad at. Reputations are made that way.
You'd think all this stuff is obvious but it's surprising how few do it. It's vecause it's hard to do. Hard to bury your ego, your ambitions and do the right thing for the long haul. Do it my way and you won't recognise your diary of gigs two years from now. You'll be busy, well paid and only working on the gigs you'll excel at. But its a hard dicipline to master.
Lady Gaga Audition Update:
So it's been a little while since the auditions, and I just received some interesting info from a pretty high up inside source....apparently the drummer that I was told won the audition never had it at all, as Joe "Flip" Wilson (gagas MD and one of the judges) had the gig from the beginning, which also negates every drummer that tried out, including Swiss Chris and Spanky. The bass player that got the gig, (I actually forgot his name) is almost 50 years old (so much for the "young but experienced musicians" they were looking for) and was also one of the judges sitting with Joe Wilson on the panel. AND, the keyboardist they chose is Brockett Parsons from the Cafe Wah band in NYC and Diddy's Making the Band! He's no youngster either and I guess another good friend of Joe Wilson....mind you I haven't been able to confirm any of this on the web but I definitely trust my source....
So the greatest lesson to be learned from this experience is MEET THE RIGHT PEOPLE! Clearly, when it comes to a big industry gig like this, only the friends of the MD are going to get hooked up, despite how good you, or somebody else, might play. I've always been aware that the music business works like this, as do many other businesses, I just still don't understand why they had to waste everyone's time with these auditions when Joe Wilson was just gonna choose whoever he wanted....including himself!
And to top it ALL off, I've been informed that Lady Gaga had a serious nervous breakdown after the grammys when she didn't win one....so between that, her "exhaustion" spell she suffered recently which I'm sure was code for "too partied out", and her supposed poor financial standings after some reckless spending and label re-couping, THE TOUR MAY NOT EVEN HAPPEN!
I'm very curious to see what happens....
As of February 8th, 2009
Joe "Flip" Wilson (musical director)
Judy Kang (electric violin)
George "Spanky" McCurdy (drums)
Rashida Jolley (harp)
Brockett Parsons (keyboards)
Lanar Kern Brantley (bass)
Kareem Devlin (guitar)
Ricky Tillo (guitar)
Charity Davis (background vocals)
Ameera Perkins (background vocals)
Lenesha Randolph (background vocals)
Posh! The Prince (background vocals)
I too had my doubts at one time.. and then i researched her and saw interviews...
She is highly intelligent and knows her market. Perhaps a marketing genius.. And she can craft clever pop tunes too. and the girl can seriously play and sing..
Folks who put her down have never been in the pop music scene i suppose. I was smack dab in the middle of it for many years and know first hand the work it takes both behind the scenes and what the public sees.
I also believe she is pure honesty in her interviews which is very refreshing in this day and age.
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