How A Band Works

Save the Neil Peart fills and just find the Downbeat

2011-09-06T15:17:00.000-07:00

"Save the Neil Peart fills and just find the Downbeat!!!" is an actual experience of mine and I honestly deserved to hear it. That whole experience happened to me over 10 years ago now and is one that I will never forget! I mean who honestly forgets when the artist you're playing with stops everyone in rehearsal mid song and chastises your fills as being too Neil Peart-ish? It's like a round about way of saying "Why don't you just sit in your room with all of your Rush CD's and play your new set of octobans and rototoms but don't waste our time with that nonsense here." And honestly to this day that guy was totally right and I learned a lot from that experience at the young age of 20. And the more that I played with him and other artists I realized that 98% of the artists and bands that I have played with could care less about the new fill you just found in the Dennis Chambers bag of tricks. They just want you to create that feel behind them to give them a comfortable cushion to play within.

Makes sense right?? Of course of course! What am I really talking about?? Well I'm talking about the 1 and the 3. The Downbeats.. but more importantly the 1. That first downbeat at the top of the measure can sure be a tricky one if you're playing a fill that's going to rush the downbeat on the one or make you miss it entirely. And I'm not saying that those fills don't always fit or aren't always appropriate. But I am saying that more often than not.. they probably aren't. So you need to seriously ask yourself; Are your fills a little too Neil Peart-ish in the context of your church worship service, top 40 cover band gig, or just a country/western jam down at the local VFW? Does your downbeat fluctuate or not happen at all at the top of each measure? Do you even know what a downbeat or a measure is??

So that's a good start here. A little bit of realization and enlightenment if you will. But I also must say that even though we're giving Neil Peart a bad rap on his fills. I can honestly tell you that even with how busy he plays and how many toms he hits in a fill. I've never heard Neil Peart not land on the downbeat. So am I contradicting myself by saying that all the fills in your bag of tricks will always push you away or off the down beat of every measure?? Maybe it could appear that way but let me explain myself a little further. Here are some questions that you should ask yourself to help determine if you fit in the "I play a fill too much" and "I'm in love with my toms" "ADHD" Drumming.

First of all how many toms do you have? And do you find yourself hitting them more than your snare?
Do you understand the term "In the pocket" or the "Groove"
Do you play with a click track/metronome or scorn it's existence? And if you do play with one can you play to it and practice with it?
Do you think that drummers who play little or no fills are bad drummers?
Are the words "Solid Drummer" offensive to you?
And lastly, are you never being called back for the last gig you played?

Ok so we're whittling away at who the professionals are and who might need to woodshed on some simple and practical basics of musical taste. And I don't say these things to demean anyone. I say them all to help! I get asked so many times by drummers on how to become a professional drummer. Among a few things that I suggest I always say play solid, simple, and let your artist and whole band know where the down beat is at all times. And if you read below here are some more tips on how to play less fills and find your feel for solid grooves, tasteful fills, and knowing how to accentuate the downbeat for all to hear.

Practice by taking one tom away at a time. Or all of them -- I actually played and still play a kit to this day with only a floor tom. Did I just blow your mind?? Maybe some of you.. But it is truly an emancipating feeling to know that you have only a few fills to make work with a floor tom, kick, and snare. And you'll be amazed at what you come up with! But if you love your toms more than your snare, kick, and hi-hats (Where groove most often happens).. then you should try this approach. It's a little like going on the patch or chewing nicotine gum for a smoker. Basically you just keep lowering the dosage as needed and you soon become cigarette free. Or is this case "Neil Peart-ish fill free" . Give it a whirl and you'll be amazed at how many compliments and respect you'll get by your band by how you focus more on the groove than 100 tom fills.
Listen to what professional drummers in Pop, Country, and top 40 music do -- I actually heard an interesting stat from a studio engineer friend of mine that the biggest #1 Pop/Rock songs of all time have little or no tom fills at all. And as I listened to a bunch of old #1's he was totally right! And as I researched further I also found that those drummers are no slouches.. Drummers like Vinnie Colaiuta, Jeff Porcaro, and Steve Gadd. Whom are all technically on another level than a lot of us but still get that playing on a song involves tasteful playing and giving everyone the joy of knowing where the down beat is. One of my favorite songs is a song that Vinnie Colaiuta played on by Sting called "If I Ever Lose My Faith In You" It might have one tom hit in it.. maybe?? But the song is all that funk shuffle groove that Vinnie does so well.. and when it's appropriate to "Go Off" at the end of the video. Then Vinnie does so very tastefully. Here's a peek

Listen to the artist and bands you're playing with -- Most of the time you'll know when you're "going off" a little too much because the other guys around you will probably tell you or just never call you again. So make sure to eat some humble pie if you're told that you're being a bit too busy. It's for your own good!! I promise!
If you're playing a cover song then simply copy the fills that the drummer played on the record -- Unless the Artist you're playing for just simply hates the drum fills on the song you're playing then do your best to play a variation of them. But you must remember that a lot of songs that you hear on recordings have been scrutinized by a producer, A&R person, manager, engineer, Artist, and full band. So I guess that fill is the fill that they wanted to keep in there.. And let's hope that if it was too messy then they would've have canned it. But whatever the circumstance here... Do your best to just learn the fills where they are placed in the song.
Learn to groove, keep your fills from speeding you up or slowing you down into the next measure -- This is an advanced task that will take you locking yourself into a room with a click and hearing how you naturally play your fills into the next measure. Fills are usually 8th or 16th note based and the faster they get, the more apt you'll be to rush your next downbeat. I know of studio drummers that would practice for days on this very thing. They were tired of having to punch and re-punch fills that were too busy and rushed the next downbeat. Now we have Beat Detective and Flex Time to fix these issues in the digital recording world. But when you're playing live you don't have that nice warm blanky called "You're about to have surgery on your whole drum track"
Knowing how to play simple and tasteful is what makes you a professional player -- Some of you will disagree but to be honest I have used about 6 or 7 drum fills of the 100 drum fills I've learned in in my life just this this year. No one cares that you have the coolest fills ever! No one but a small majority of people in this world will ever hire a drummer based on the amount of fills he or she has up their sleeve. It all will revolve about how confident you are in the pocket and how great you make that Artist's music feel. If you are playing too much you just simply will not last long. So slowly break down you're playing and use this word in your brain at all times while playing RESTRAINT
Avoid the Clinic Drummer mentality -- I think that everyone loves a good drum solo, and so DO I! But it's a drum solo and I've only played a few of them in my 17 yr studio and touring career. I've heard a lot of technically off the charts drummers play the socks off a clinic and blow my mind. But when I've heard some of them try to groove in a simple worship song at church.. it just felt wrong. You can tell who spends more time "In the pocket" and grooving.. and who spends more time on drum solos. So marry your metronome and spend more time on the thing that will keep getting you work. "The Groove"

There is probably more that I could write.. but I think we get the point and have a pretty good start right here.

In my new E-book that will be coming out next week.. I'll be talking about this subject in a bit more depth and hit the next topic similarly to this in succession "Where's 2 and 4?" or better known as the Back Beat.

Until then feel free to start the dialogue on here and learn from other professionals like myself on how you can better serve the Artist and Band you play for. I hope some of this helped.. Feel free to ask me any questions at all. Have a great week! God Bless!

Warm Ups and an Awesome Mullet

2011-08-30T13:08:00.000-07:00

My warmups are pretty lame most of the time.. and I feel like I'm being lame most of the time by doing them. But when a few friends have told me that they have had wrist and arm problems. I felt like I had to make sure that I warmed up to avoid the inevitable wrist surgery in my future if I didn't warm up properly. Not long after hearing from different drummer friends that warming up properly has helped them avoid surgery or surgery again. I began to contract a bit of repetitive fatigue in my wrist from my own lack of warmup routine. I feel, in retrospect, that it was a combination of poor warm ups, years of developing bad habits, and just laziness to be honest. So I decided to take a bit of my friends advice and decided to really get on the warm up train.

Warm ups aren't a new thing in music, sports, and in academia. So why after all these years was I so reluctant to warm up? To try and possibly save myself from an impending injury that would cost me thousands of dollars and months away from my drum kit? I decided that I was being downright irresponsible. So I started to develop a series of warm ups and I turned to Youtube for help.

It seems that I always land back in Dave Wecklerville (As my mom so lovingly called Dave Weckl) Maybe it's because he's one of the most fluid players I've ever heard or seen play. Or maybe it's because I just LOVE to watch his hair fly around like someone just scared a racoon out of the air conditioning ducts. And I digress.. (sigh). So I happened upon the Video Back to Basics. It helped me determine the best warm ups for me through a lot of natural things that I just so happen to play when I'm behind the kit. I think it can and should be different for most people and for me it seems warming up takes a bit longer because I'm just a big guy with lots of tension in my muscles. So I developed some things that I do before I play. I definitely stretch a bit and I warm up a bit also. In my ebook that is coming out next month I will be explaining what I do to warmup and how I address the drum kit.

I have to say that with my friends recommendations and a bit of sudden awareness to my own impending doom for my wrists; I curbed my problems over time. In my future ebook I'll describe how I address the kit before a rehearsal or performance and go over a few helpful warmups that you might be interested in. They'll be in a Video format for you to easily see and hear how they work. It's not rocket science or hard math.. Just something practical for you and I to take away and to save our wrists from a possible sidelining surgery. But just for your enjoyment, I included one of my favorite excerpts and a bit of inspiration to how I came about creating my own warmups. So Check Dave out and let's all wonder and dream of how we can attain that Mullet of his... Oh yea and his chops as well :) God Bless my friends!

The Wicks

2011-07-02T16:34:00.000-07:00

In August 2009 I met a guy on a flight from Seattle to Dallas, TX named Jedidiah Wick. When he found out I was a musician he told me his wife was a singer and they were interested in ways to start a music career. I think I had been up since 5am flying from Anchorage, Alaska that I was a bit delirious but I was also somehow intrigued about how well Jedidiah engaged me in conversation. It didn't seem to be a desperate plea for help but more of a how can you help us progress farther along than we have already gone. I enjoyed the conversation and when our flight arrived in Dallas I gave Jedidiah my number and told him to call me when he and his wife wanted to make a record. And I have to be honest that I never really thought much about it after the flight. But I have to attest that it was one of the better conversations that I've ever had on any flight I've ever been on.

So of course time goes on and I decide to move to LA. I get this email from Jedidiah out of the blue in December 2010 that he and his wife want to make a record. So when I finally moved into my place in Sherman Oaks, CA I scheduled a conference call with The Wicks to talk to them about budgets, schedule, and record details. From the first moment of the conversation with them I was struck by how serious and driven they were. It wasn't a "hey can you produce a record for us and get us signed??" But more of a "How can you help progress our career and give us the tools we need?" I was very impressed with that... And honestly it made me work harder for them and alongside them.

So I found out that Pauline Wick had written all these awesome lyrics but had no Music. So I took on the challenge of writing all the music to the lyrics she gave me and we solidified the rest of the music all together in Marina Del Ray, CA while in Pre- Production. We worked our tails off in making this record and it was a fun and creative effort all around. Please take a listen and buy the 7 songs from the top or bottom link.

Vocals and all things VOX by Pauline Wick
More Vocals by Jedidiah Wick
B3 organs by Troy Welstad
All Guitars by Steven Miller
Mixed by Steven Miller
Mastered by Dale Becker
Everything else by dis one guy

Now on every flight I take anywhere I make it a point to engage someone in conversation. Because I never know when I'll find another awesome group like The Wicks out there again. So Thank You Wicks for helping me emerge from my mundane airport and flying cocoon. :)

Go follow The Wicks on Twitter www.twitter.com/thewicksmusic
Like em on Facebook www.facebook.com/thewicksmusic

The Jungle for Indies/The World as your Instructor Summary

2011-06-25T17:56:00.000-07:00

So I posted two articles this week. They are two very different articles dealing with two very different subjects. I just wanted to sum up what I'm saying in both. And I've yet to finish "The World as Your Instructor" but still let me abridge both before finishing those thoughts.

What I'm not saying:

In Regards To: It's a jungle out there for the indie artists -- I'm not saying.. Don't ever sign a record deal!! but I am saying be wary, wise, and discerning about what you do sign!! And again let me share the article below because I believe it's really not saying that as well. It does give some great advice. And there are a lot of good nuggets for you to think about. So again here it is. http://www.musicthinktank.com/blog/what-are-the-odds-of-succeeding-without-a-record-deal.html

In Regards To: The World as Your Drum Instructor -- Before I finish pt. 2. I wanted to let you know that one of the best things you can do is find a Drum Instructor. What I'm saying in part 1 is that I didn't have that convenience in the part of the world I lived in Circa 1991. And 1991 was a world without Internet and Cell Phones. Some of you that may be reading this might not have these amenities. That post is for everyone, but ESPECIALLY for the man and woman who has to teach yourself your particular instrument. But if you're in distance to a Drum Instructor that can help you learn how to play. Then that's great!! and I say DO IT! But I say find one that fits you and helps you build upon your great habits. I'm saying as a teacher, that I would never deconstruct a drummer's natural talent and natural approach to the drums. I would only deconstruct the bad habits that I knew would become harmful to a drummer's health. i.e Arms and Wrist. So to clarify... Find an instructor if you absolutely can. Find one that fits you and helps you meet your goals. Some might push you and make you mad. But I believe one will definitely help you and make you a better Drummer. If you're aren't in a place geographically to do so. Then use all that you can possibly can to make you better. It always comes down to your drive, passion, natural talent, and love for the instrument no matter your circumstances. Just make sure and find the instructor, or resources, that foster your passion and drive. But doesn't turn you away from the love of your instrument. Hope everyone has a great weekend and thank you so much for reading my blog!! Thanks!

The World as your Drum Instructor // Playlist circa 91'-95' Pt. 1

2011-06-24T18:15:00.000-07:00

It seems like yesterday that I first set up my drums in my room, in the tiny town of Sayre, OK. Hooked up a jam box.. and yes I said "jam box" with a CD player in it and starting playing to my favorite records. I think it's cool that nothing has changed really. If you still wanna rock out to your music. All you have to do is plug in your ipod, set it beside you, and make some noise. The only difference is that in 1991, nobody understood what an Mp3 was. And if I played too loud or accidentally hit my "Jam Box" the CD would skip. Or my headphones would fly off from rocking too hard and unplug the phones from the 1/8" jack, Hence letting everyone know I was rocking too hard to some Lynard Skynard. Whatever, you get the point.

Growing up on the prairie, I didn't have access to a drum teacher or music school like most people in large cities have. So I created my own system of drum instruction through a series of CD's I liked, Concert and Drum Instructional videos, and various people in my life. The various people in my life influenced me and told me about new drummers and styles and quite simply just gave me a solicted and unsolicited critique from time to time. I would have loved to have had a one on one private teacher. But I slowly realized that if I trained my body to do what I was listening to. Then I could be as about as good as a private teacher as I wanted. I really didn't want to learn drums by reading a book of charts or being told to correct something in my grip or playing that they thought was wrong. Not that that is bad at all, but I also think as teachers, we change up a natural approach to our instruments to much sometimes and throw our ability to foster the soul out the window.

So below is a list of Influential people in my life and a playlist of Artists and Drummers from 1991 - 1995 who taught me a lot of what I know today. I don't think I play the drums in the most correct or orthodox way but all I know is from what these guys have taught me. And from what I've been able to teach myself through their invaluable knowledge.

So how did you learn your instrument? Everyone processes information differently.. Let me know how it is best for you to learn and what also influenced you to be the player you are today.

Life Instructors:

My older brothers -- Greg (42) and Todd (39) were both trumpet players and listened to a wide variety of music throughout the 80's and early 90's. They also had a Green Sparkle Apollo 4 piece Drum Kit in their room upstairs that was off limits to me. But little did they know that I would sneak up to their room and beat them to pieces. I'm sure they knew that I did this but that's also how cool they were. My Brother Greg is a Visual Artist and currently a Professor of Art at Troy State University. Greg would always play music like Andreas Vollenweider or The Police while working on a new Art piece. A lot of times I'd sit at the bottom of the stairs just to listen to the songs. His finished pieces of Art seem to reflect the color of the sound I'd hear in the music which fascinated me. Todd was pretty eclectic as well. I heard a lot of Miles Davis, Chick Corea, R.E.M., Van Halen, Pat Metheny, Jon Faddis, Primus, Rush, Holst, Grieg, Bach and etc. It was in the Summer of 92' when Todd decided to come home that he introduced me to Drummers Dave Weckl and Vinnie Colaiuta. I was floored to say the least. I didn't think I could ever play like them but they really put me over the top as far as understanding virtuoso drumming. While Todd was in Jazz classes at his University. He would tell me of all sorts of different meters, time signatures, and styles to play. Which really put me over the top on learning different styles of playing. So they know this, but I'll say it again. Thank You BRO's!!

Uncle Keith -- The above Green Sparkle Apollo 4 piece Drum Kit was courtesy of my Uncle Keith. On my mother's side of the family my Uncle was the youngest of 5 brothers and had a passion for playing Drums. I have no idea where those drums came from today. Maybe a pawn shop in Longmont, CO?? But however, they ended up sitting in my Grandparents garage collecting dust after my parents got tired of the noise in our house from them. On our visits to my Grandparents, I regularly found myself in the garage playing "wipeout". I mean who hasn't played Wipeout?! In the early 90's my Uncle saw that I had an insatiable craving for the Drums. And knowing I didn't have a Father around anymore took on my obsession because he enjoyed it as well. He helped me buy my first Drum Kit in Garland, TX , in a small music store called "Zoo Music". It was a Jet Black Wrapped Mapex Mars Series 5 piece kit with all Power Tom sizes including hardware. I'll never forget that. It was a really hard time in my young life and my was there for me. Forever Grateful.. I used those drums for 4 various tours and in Fiji, New Zealand, and Australia. Unfortunately I had to sell the kit in 2008 to pay for my move from Dallas, TX to Nashville, TN. I sold them to some kid for $300. I told him a brief history of the Drum and their history. He of course like most obnoxious Texas kids blew me off, threw them in his truck, and gave me cash. Pained me to sell them but you can't hang onto gold forever.

My Mother -- You wouldn't think that your Mom would influence your Drumming but mine sure did. My mother is actually a great musician. She plays the Guitar, Piano, and has been singing since she can remember. My Mom endured years of hearing me play my drums as loud as possible in my room and in the garage. And every now and again she would comment on different things she would hear me practice on and give her unsolicited critique. Maybe they weren't always useful but there was surely a lot of content I ended up using from my mom. You gotta give it up to any Mother who endures the level of volume that any Drummer or musician brings to a home in their teen years. Gotta give it up to mi madre!!

Concert and Instructional Videos:

Dave Weckl: Back to Basics and The Next Step -- These were probably the first Drum Instructional Videos I ever saw. Dave was rocking a full on Mullet and I didn't mind because he literally lit the drums on fire. I seriously had these videos on repeat for months. The linear time portion in The Next Step has one of the greatest drum solos I still have ever seen. Here's a portion of The Next Step below.
Sting Live at the Hollywood Bowl -- I have no idea where this video came from. It was on a VHS with bad quality and may have been a PBS special. Nonetheless I played the heck out of it to watch Vinnie Colaiuta make mince meat of 7/8 and 5/4 time in Pop music. It is one of my favorite things to watch on Youtube still. Also "Ten Summoner's Tales" is one of my favorite albums of all time. And this song below is in my top 5 drum songs of all time as well. Listen to Vinnie's genius as he makes 5/8 time seem easy. Oh yeah .. you still sing along to it. BTW.. couldn't find footage of the Hollywood Bowl gig I'm speaking of.. But this is the same tour and same set.
Chick Corea Elektric Band live at the Montreaux Jazz Fest 1991 -- This was another PBS special that I remember setting the timer on the VCR to tape. Remember when we had to go through that madness?? Anyways, Dave Weckl on drums here for one of my favorite songs ever. "Illusions" .. I still cannot find the footage of this particular event. So the video to follow is of another performance.

Van Halen Right Here/Right Now -- Alex Van Halen will always be the first drummer I latched onto. And "Poundcake" will always be one of the first rock grooves I ever learned. The album "1984" has always been one of my favorite rock albums. I play Paiste cymbals because of Alex and try to hit the drums like an Ape because of him also. I watched this video a lot because I loved these songs so much. You might recognize a few :)

Rush A Show of Hands -- I think I would watch this for hours and zone out on Neil Peart's robot like playing. I'd also be in awe that he never missed a beat or sped up or slowed down. He played everything perfect for a 3 hour show. This is one of my favorite live albums of all time. The middle breakdown/solo on "La Villa Strangiato" was huge in me understanding how to play in 7/8 time. Neil Peart is truly one of the greatest drummers who has ever lived.

Enjoy! in Part 2 you get to peruse all the hair metal CD's I enjoyed. In the meantime.. what are some of the things in life that influenced your playing and made you into the musician you are today??

It's a Jungle out there for the Indie Artists

2011-06-23T14:02:00.000-07:00

But as I say press on!!!

This article on Music Think Tank was great and still backed up every notion I still have about how to go about it alone.

It can be done.. And I think we live in a time where web developers are building the best tools and sites to help and capitalize on the DIY musicians' Indie ideals and aspirations.

But I truly feel that every musician needs to stop listening to so many things about "getting big" or that "getting signed will save you". It needs to stop! The music industry is in full on survival mode.. It has never caught up with the Digital age and artists and bands are thrown at the wall to see if they stick. If not then they are done, dropped, and shelved!

Do what's right for you.. and don't sign a record deal because it's a record deal. Would you buy a car that's a piece of crap and know it would break down in 6 months to never run again? Well the same goes for signing record deals and the anything else in the music industry as a whole. You even have car salesman disguised as A&R's and they want to sell you a Lemon. For proof read on more here..

http://www.negativland.com/albini.html

But you have to be with people you trust and you have to do what you feel in your heart is right.. But sometimes you need to really think over why you're doing this in the first place.. There are many avenues you can explore in the music industry. And you need to really figure out what is truly success for you. So below are some categories of the end goals that many musicians may aspire too. See which you fit into.

Is your goal as musician, artist, or band

To be rich, famous, and party in a bus and private plane? Have a Record Company call the shots for you. An Artist manager market you as a doll or dream boy.. Constantly hounded by leeches that wanna capitalize on your success and end up like Britney Spears?

To simply be content with making a comfortable living in music and have regional fame?

To make a record for your family and friends. Maybe play a few club shows when you have time?

To make records on your own, book your own tours, find new ways to distribute your record online and in local, regional, national, and worldwide stores. Be your own publicist, publisher, and manager

Whatever your goals and aspirations are, and they can definitely go beyond or expand more than what I've explained, You need to always stick to your guns of why you started making music in the first place. You will always be faced with compromise and believe me you can end up being the person you hate and making music you don't enjoy at all. Always remember who you are and never forget your love for music and not the business of music.

Just like a great quote I read from Jonas Myrin yesterday that read

"Don't overthink it, Just follow your heart"

http://www.musicthinktank.com/blog/what-are-the-odds-of-succeeding-without-a-record-deal.html

Music Social Networking

2011-06-22T12:13:00.000-07:00

So you think your band or music doesn't need Social Networking or a Web Presence?? Read this article below and look at some hard data and get back to me if you still don't think so. :)

http://www.hypebot.com/hypebot/2011/06/the-social-network-effect-facebook-twitter-linkedin-tumblr-hit-new-comscore-highss.html

New Music Strategies

2011-06-21T14:28:00.000-07:00

http://newmusicstrategies.com/ampnms/

Watched a little of this today and thought it was such a great idea! Lot's of great information for bands and artists.. Look for the times it airs and check it!!

Start Here

2011-05-25T22:47:00.000-07:00

So I guess I should explain why this blog exists or why I have purpose to write it.

I might be coming to a very elitist paradigm to some.. but to other purists and musicians that don't enjoy leaving their music to the hands of other people (facets of The Music Industry) Then this blog will inspire you. And for The Music Industry that has never suffered long months in a van tour towing your gear everywhere.. but has instead sentenced your artists to those to squeeze every single drop of money you can squeeze from them before you drop em... Well to put it bluntly this blog will only make you mad I'm sure.

But you can't be mad that I'm here not to divide necessarily but to empower. I firmly believe that Artists should feel in control of their art. Instead of letting someone who understands nothing about it to exploit it and burn the artist out by taking it to fantastical avenues of marketing to only benefit one party.

I sat through too many meetings and have heard too many stories of The Music Industry trying to make bands almost wear monkey suits to sale their music. Why have us artists stooped to such levels to let everyone hear our music when we could cut the middle man out and do that ourselves??!

Believe me, I sat in a lot of vans with signed artists on "big" tours while a manager and record label looked on reaping all the benefits. While reaping all the benefits I was beating my body to death..

So I come from the perspective of the "sideman" .. And I also come from the perspective of the Artist who respects their Art enough to not sell it out.. But to make a comfortable living doing what they love without selling their soul.

So Anyways, Start Here... I'm no Bob Lefsetz .. But I do agree with about everything he says.

We live in a great time to be independent musicians. And I'll be doing my best to help you all see where you can be better at succeeding in your craft.

New Myspace Scam

2010-03-30T16:45:00.000-07:00

So you're informed.. Don't fall for the following scam.. Google it and you'll find thie same form letter everywhere.. Here's the letter you'll receive on myspace.

How are ya? My name's Alyssa Jamison and I'm an Independent A&R scout for several companies in the music industry. Anyway, I was listening to your tracks and I think they are pretty good, especially "subway blues". I'd like the opportunity to speak with you over the phone so I could find out more about your music in general. Right now, I'm scouting for mainly music supervisors for TV and Film placements and listening to your music, I think they're great for that kind of stuff.

Anyway, I should be available all day today and throughout this week. If you want, just respond back to this email with your number and I'll call you when I'm free.

Alyssa Jamison,
Song Placements
323-988-3442

It's a pay as you go scam.. Basically they tell you that they will place your music for a fee.. There's no credentials for them.. it's shady from the get go. We gotta stop these people from ruining dreams. These are the things that burn out the people who are good hearted and talented in this world. Just be wary.. Since the dawn of the internet we've had this crap and since the internet is not going anywhere then we're bound for more creative scamming. Cheers

How A Band Works: Clinics for 2010

2009-11-15T15:07:00.000-08:00

I have worked with countless worship leaders, singer/songwriters, bands, and musicians in my 16 yr touring and studio musician career. I love passing on any invaluable information that I have attained to help your church, band, or artist career. I basically work with your band, worship team, tech staff, studio, and/or solo act to attain the best possible sound, look, and feel that you can possibly attain. With my guide called How A Band Works: We will study the anatomy of a band, worship team, and/or solo act. With my method we will study Rhythm Section Basics, Role of Guitarists, Tasteful Playing, Stage Presence, Tone, Sound Production, Technical Aspects of Sound and Instrument Gear, and etc. If you are in need of work with your vocal team, or any single instrument with your band or team I have the staff and indvidual instrumentalists to help with any of my sessions to attain your goals. Please inquire at my email jonskaggs@hotmail.com or call 970-420-3852 for more Rates, Info, and Schedules.

I really look forward to working with you.. Please don't let lack of budget keep you from working with me or your team. I'm willing to work with your budget in order work with you. So don't be afraid to ask..

Look Below at a few videos I've compiled with some artists I've been fortunate enough to play for over the years.

Playing Drums for Brandon Heath at the 2009 40th Annual Dove Awards w/ the great Dan Muckala ..s/BGV's and the solid Gabe Ruschival on Bass. Also the Nashville Steppers showin us some dance moves

Playing Drums for Chris Sligh on the GMC. Also with the guitar virtuoso skills of Clint Milburn and the cool rock bass stances of my friend Walton B. Smith

Playing Drums for Nichole Nordeman at Celebrate Freedom in Dallas, TX. Also with the amazing Clint Lagerberg on Guitar and BGV's and my buddy and kid bass genius, Mr. Scott Lee

ALL ARTIST'S AND BANDS PLAYED FOR:

Lance Beaumont

Nichole Nordeman

Bethany Dillon

Brandon Heath

Warren Barfield

Josh Hoge

Chris Sligh

Casting Crowns

Meredith Andrews

Aaron Shust

The Afters

Josh Bates

Andrew Carlton

Jason Walker

Jeff Johnson Band

Shane and Shane

Matt Wertz

Dropknee

Joel Johns

Jourdan Burkes

The Black Bonnets

April Geesbreght

The Blue Hotel

Tim Bach

Flying Machine

Caleb Carruth

Chach Luevano

Noel Johnston

Mark Cuthbertson

Forty Days

John Carlson

Rodrigo Rodriguez

Moriah/Life of Riley

Tin Roof Riot

Tom Hemby

Tim Ward Band

Sean McCurley

Five Stone Canvas

Pherigo

Joey Wright

Union

Justin Cofield Band

Quentin Hope

Mark Philpot

Jordan Critz

Destination Known

The Continental Singers

Jeff Berry Band

Jared Wood

AWARDS AND RECOGNITION:

John Phillip Sousa Award (Trumpet - 1995)

Louie Armstrong Jazz Award (Trumpet/Drums - 95)

The Director's Award (Trumpet - 1992)

National School Choral Award - 1995