If you hear somebody say, “I don’t understand why musicians do cover
songs.I only play original music" you should ask them if anybody has ever covered one of their songs.The answer is no.100% of the time, the answer will always be
no.
If you pick an artist that is frequently covered, be it
Lynyrd Skynyrd or Selena Gomez, I guarantee you that artist is prone to
frequently covering other people’s songs.That artist knows that it’s all about the music.It’s not about your ego or your pathetic need
to have people tell you that you write great songs.
Johnny Cash wrote great songs (I Walk The Line), Johnny Cash
was often the first artist to release great songs that were written by other songwriters
(Ring of Fire), and Johnny Cash did covers of great songs that were made
popular by other performers (Hurt).Mr.
Cash understood that the music was all that mattered.
B.No
Excuse For Poor Dental Hygiene.
Our newest single is a cover of the song Horse Race by the
band Colourmusic
The budget for this song (a cover song) exceeded the
recording budget for our entire last LP.In addition to that we also spent $4,500 making a music video for the
song.
Having always produced our music ourselves, for this song we
hired producer Michael Trepagnier (Coldplay) and engineer Kevin Lively (Rage
Against The Machine).
In addition we collaborated with David Goad from the band
Kali Ra.He sang lead on the song.
In the internet age of releasing music everything has to fit
in a very narrow outline.We wanted to
release our song as LESS LOVE and Kali Ra, but two bands can’t release a song
together.
The distributor will allow you to list it as two bands, but
the retailers will only list one band name.
To ensure both bands were credited we had to list our
co-collaborator as “ft. Kali Ra.”That
seems stupid considering David is singing lead.
The more liberated we believe we are, the more confined we
become.
The single has done well.The reviews have been positive.The music video thus far has been featured in a few indie film
festivals. It won two awards at the KSCR Music Video Awards for Most
Dramatic Video and Most Likely to be an Indie Film.It won Best Music Video at the Hollywood International Moving
Picture Film Festival, and it was nominated for Best Music Video of 2016 by the
Global Music Awards.
In addition the song was nominated Best Rock Song / Hard
Rock Song of 2016 by the Independent Music Awards.
All that attention for a fucking cover song.
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.
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.
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Relationships are hard.
Being in a band with four other people consists of being in a situation
that revolves around 20 individual relationships. If one person decides they can’t work with
another person and leaves, then there is a possibility a third person may
decide they don’t want to work without the person that left and also leave. It
can all fall apart because one out of 20 relationships didn’t fit.
Heaven
forbid that two members of your band start fucking. If you have a coed line-up then romantic
entanglement is likely inevitable, and that never ends well.
A friend of mine that makes a nice living
playing other peoples music told me “fuck friendships. Hire some musicians, pay them a fee, and tell
them what to do.”
When we were recording the first album Chris Snyder played
violin on one of the songs. He and I
were talking and he asked me what kind of music we were doing. I told him it was Grunge and Country. He laughed and called it Gruntry. Because of that, as a joke, I put on our bio
that we were “heavily influenced by the Gruntry music trend taking place in the
Ouachita and Kiamichi Mountains.” Nobody else would understand it, but I
thought it was funny. The Ouachita
Mountains are not known by many people. I
grew up in that area. It is Southeast
Oklahoma and there is nothing down there.
Have you ever seen the Ed Norton movie Leaves Of Grass? It takes place near that area. It is a very poor area where people can’t be
burdened by trends. The Kings Of Leon claim to be from Talihina Oklahoma which
is in the Ouachita Mountains. At this
time they were VERY trendy so saying we were a part of a fictional music trend
taking place in their home town made me smile.
After Bria left the band we tried a few different female
singers. Nothing clicked. In addition
Billy and I were struggling with whether or not to just let Less Love die. In 2012 one of the bands we were promoting,
Big Okie Doom, did a video shoot and needed extras. Billy and I went to participate. On the set I met Brooke. We talked and at some point it was mentioned
that she was a singer. Before that but around the same time Rebecca and I began
exchanging emails via the music social network page Reverbnation. She and I met, and decided to see if our
musical tastes aligned.
A TV show contacted me checking to see if Less Love would be
interested in performing on their program.
I liked the idea but had no band.
I contacted Rebecca. She said she
would like to do it but didn’t want to sing lead. I contacted Brooke and she said “no problem.” I contacted Mr. Snyder and asked if he wanted
to do the gig with us. He said yes.
With Rebecca, Brooke, Chris and myself we were going to play
this TV show that, for some unknown reason, asked us to perform even though it
had been two years sense our album came out. Usually media only wants to talk about new
projects. Plus our album was called Go Fuck Yourself so it was really hard for
me to imagine they wanted to promote that. I quit thinking about it. Some of our friends had recently been on the show so maybe that is how they heard of us.
The show pre-records all performances. We went in and did our songs, and they asked
us to come back on another day to be interviewed. None of our friends had been interviewed.
They just performed. This was beginning to interest me. I
asked them politely why they wanted to interview us and the producer gave me a
vague answer.
Chris and I went back on the specified day. They put the microphones on us and told us to
stand on the side of the stage waiting to be announced. The show started and the host said something
along the line of “we have a very special show for you today. With this weekend’s music festival taking
place in Pushmataha County…” Leading up
to that moment I was trying to determine why they wanted us on the show. I
never once thought about our bio. I
wrote that over two years before the interview.
As a matter of fact I think at that point I had forgotten all about the
bio. When he said Pushmataha County I
paused. I know where that is. It’s down near where I grew up. He said “With this weekend’s music festival
taking place in Pushmataha County we are dedicating the whole show to the music
taking place in that area.” OH FUCK
ME!!! FUCK!!! FUCK!!! FUCK!!! I began to panic. The only reason we were
there was to talk about the bogus Gruntry music trend taking place in the
Ouachita and Kiamichi Mountains.
During the interview, internally, I was a mess. My mind was running a thousand miles an
hour. As he would ask me questions about
Gruntry music or what the scene was like in the Ouachita Mountains my inner
voice was screaming at me “how could you be so stupid?” I was wearing sunglasses, but in some of the
shots you can see that my eyes are huge.
I didn’t want to lie. With each
question I tried to construct an honest answer that would hopefully change the
course of the questioning. It was a
struggle.
I have experienced similar situations of extreme anxiety,
and had people tell me that my fear did not show. After it was over I was convinced that I
looked like a fool, but when I watched the replay I thought “man I look calm
and collected. If that guy (me) was
running for president, I would vote for him.”
After the show I asked the players if they would be
interested in doing an album with me.
Each said they would.
Aware of the fact that Bria likely left because of me, I
tried to take a more gentle approach to this incarnation of the band. In the end that approach also didn’t
work.
The desire to be an artist is a dreamer’s desire. Most dreamers are not people of action. I
have vivid memories of being a child laying stomach down on the floor, drawing
pictures, and thinking “when I grow up I am going to be an artist so I won’t
ever have to work.” That plan didn’t
work out. As I got older, just barely
out of my teens, I had children. Working no less than 60 hours a week became
necessary for survival. Being involved
with musicians (artists) I often see in them that child that thought he could
get away with never working.
All and all that version of the band lasted only a few
months. We recorded the album “Paradigms
In The Design” between October 2012 and April 2013. Due to Brooke’s success as a stage performer
she was only available to record for one week in December 2012. Due to Snyder’s family problems his involvement
was limited and spotty.
In addition to Billy and me, Rebecca was a main player on
that album. Her insight and creative
contribution was unsurpassed. I cherish
every person that has ever been a part of the band, but my appreciation for
Rebecca goes above all others. There
were often times I was unreasonably difficult.
She never hesitated to call me out on it. She never coward away, and regarding the
music she always had new ideas to offer.
She eventually had an opportunity to move to Washington D.C. and
understandably jumped at the chance.
While all of this was going on Billy was trying to be in two
bands: Less Love and Wondernaut. In addition
he and I were working hard to build our production company. He was engineering several of the albums we
were promoting. During much of that year
he was recording and mixing the album “The Ten Year Hangover” by the band 3
Dates Later. During the same time I took
on a project that was bigger than our ability.
It was the album “Come Morning” by the band The Harmed Brothers. So while we were individually struggling with
our own band problems, we were also focusing the majority of our attention toward
the other groups we represented.
We had two albums in the making, one by Wondernaut and one
by Less Love. Schedules were not lining
up and productivity seemed to be dragging.
If we were able to finish the two albums, Billy would have no choice but
to once again take a temporary break from Less Love because he would need to
focus on promoting Wondernaut. Though he
has always been available during our recording sessions, he hasn’t always been
available to do shows due to Wondernaut obligations. One night at the studio he and I were talking
about all the obstacles both albums faced and it was suggested that the two
bands do an album together. This would
help us overcome the musicians scheduling problems, and enable us to take the
energy of promoting two albums and focus it into one.
“Paradigms In The Design” was released under the band name
Wondernaut & Less Love. I never
thought about it, but it’s not common for two bands to release one album
together. I am not saying it has never
been done. I am just saying that it
hasn’t been done often enough for the system to recognize when it happens. Many of the retailers, and media sources only
registered the first band name. The album is often found listed as a Wondernaut
release.
We had completed two albums and both times there was no band
to promote the album. When it happened
with the first CD I considered just letting the project go and walking away. This time I was determined to not let it stop
me. When a band promotes an album, the
media prefers to interview the singer, and they usually want the singer to
perform a song. Not only was I not a
singer, but I have had many people tell me they hate my voice. With absolutely no confidence and against my
better judgment I did the interviews and sang the songs. The optimistic assessment of those
performances would be to say I have done worse.
The album did well, and we earned some bragging rights. We received more airplay, more reviews, and
significantly more attention than we had ever received with the first
album. Despite that, it sold
nothing. G.F.Y earned more money in a
month than P.I.T.D. has earned in 18 months.
At the time, when we were seeing all this positive attention
but no sales, we didn’t know what to think.
It was the end of 2013 and we were too close to it to recognize it for
what it was. As a production company we
would release another bands project and then receive the revenue that it
generated. For the most part all that
revenue suddenly stopped. For the other
more popular bands everything stopped except for revenue generated by Spotify. We still saw a few bits of revenue from other
sources, but now for the first time Spotify was about 98% of the revenue we
received. The number of streaming plays for these bands sky rocketed. In the middle of 2013 the most popular band
we represented would have around 100 plays on Spotify per month. By the end of 2013
one of our bands had 20,000 plays in a month.
The same bands, during the same amount of time, went from selling a healthy
number of download each month to selling none.
It’s pretty common knowledge but just in case you don’t know I feel
obligated to mention that Spotify doesn’t pay shit. A band that was easily earning $500 a month
dropped down to earning anywhere from $9 to $60 a month. I am comparing June 2013 to June 2014. All of
this changed in one year. It would be
different if I was comparing the music industry of the 80’s to the modern day
music industry.
There is another part of this that I never see anybody
mention. We work with bands that are
pretty popular and we work with bands that are just getting started. In June 2013 people used multiple sources to
hear new music. If you were a band just
getting started that meant that we had multiple opportunities to get people to
hear you. A lot of those sources played
“recommended” tracks. So “if you like
this” then “you may like this” and the new, unknown artist would get
heard. Common sense is if you go from
people using multiple outlets down to people just using one outlet then the
artist’s chance of getting heard decreases as well. Spotify’s “recommended” track system is not
very friendly to unknown bands. Unless
somebody goes on that service and specifically looks for you, they won’t hear
you.
My daughter told me the other day that it’s not going to
change. She said that people are not
going to go back to buying music. I know
there is some validity to that. I am
grotesquely driven by my ego. The magic 8 ball says all signs point to no, but
I still think I can create something that people will want to own.
When our second and third singles went completely unnoticed,
I realized we could not rely on a record label to handle our promotions. Remembering the Art Alexakis interview in which
he said he took responsibility for hiring publicists and promoting his albums,
I knew we had to do the same. The problem
was that we had no idea where to begin.
If you are a person that can do everything yourself, then
you are a person that will not have to share any of the earned rewards. I have no desire to do everything myself. If
we can earn some rewards I am more than glad to share them, but nobody wanted
to work with us. People do not want to
work with you until you have rewards to be shared.
There are a lot of things in life that just don’t make
sense. Many of these things are accepted
to be true by the mass majority. Then
when you question them people say “come on, everybody knows it’s true” and you
can’t get past that train of thought. The logic of hiring a PR rep is one of
these things. I quickly found out that
if you are not popular, then a publicist will not return your call. Publicists are people that you hire to make
you known, yet publicists don’t want to work with people that are unknown. This Simba is the circle of pop-life. It makes no sense.
In addition, you pay a publicist before they do their job, and you don’t
get a refund if they do a bad job. The idea that I was not popular enough to
have a publicist take my money really really really pissed me off.
A few years later a friend introduced me to a publicist at a Halloween party. I approached him with this
conversation. He explained to me that
his roster of clients is his resume. He
needed known celebrities on his roster in order to bring in other known celebrities.
That is such bullshit. I mean more power to him if he can pull it off, but it’s bullshit that people fall for it.
If some guy comes up to you and says he has been Marilyn
Manson’s publicist sense 2007 you would be impressed. Why?
Because Marilyn Manson is a celebrity. But he was already a celebrity and
well past his prime in 2007. He has had
no surge of popularity sense this hypothetical guy began working with him which
means this guy is clearly not very good at his job. The person you want to talk to is the guy
that was Marilyn Manson’s publicist in 1994.
He is the guy that took a nobody and made him a somebody. He is the guy that will have some great
stories and advice, but don’t give him any money. You don’t want to hire
somebody that had great success 20 years ago if he hasn’t recently had even a
mild success.
Publicists weren’t the only people that stonewalled us. If you sell a few thousand copies of a song
in the U.S. then you can easily get attention, but sell a few thousand worldwide
and you will quickly see that nobody cares.
It’s like the quote from the movie Singles “we're huge in Europe.” Even if it’s true, people in the States don’t
care.
Before people in the U.S. knew who they were (most still don’t)
The Flaming Lips were huge in Europe.
When Coldplay (a band from Europe) was at the top of their game they sold out an arena in
OKC. During their show, to all of the
coolest people in town, they said “it’s a real honor to play in the home town
of one of the greatest bands in the world” and then performed Yoshimi by The
Flaming Lips. The majority of the
audience had no idea to whom they were referring. Sense then the Flaming Lips have earned mass appeal
State side and there aren’t many in OKC that don’t know them. But it took testimonials by people like
Coldplay to earn them that attention.
In 2009 I was still working full time at any job I could get
in an attempt to support my family.
Every free moment I was focusing on music, but those free moments were
few and far between. I was spread thin,
and still not getting anywhere. Billy
and I decided to start a production company:
Lackadaisical Productions. The
logic of it was quite backwards but at the time, with our limited
time, it made sense. The idea was “we
don’t know how to promote one band, so let’s promote several bands.” If we can
represent bands that people want to work with, then we can make the connections
we need to promote our music.
The first project we took on was a music video for
Billy’s other band: Wondernaut. We shot
it on a Flip Mino and edited it on Microsoft’s free Movie Maker.
As cheap as it was, the video got us some local attention. The Oklahoma music media re-posted the video to their
online sites, and local bands saw it and learned about us. This opened some doors and enabled us to have
discussions. We talked to a couple of
different bands about working together but each of them thought they deserved
more than we were willing to give them and nothing came of those
situations. Then I contacted Nikolas
Thompson with the band Kite Flying Robot.
Nikolas had done a video with a local acoustic show in which
he used a battery operated Casio keyboard (cheater). The song was Red Phone
Booth, and I absolutely loved it, both the song and the “acoustic” performance. I wrote to him and he quickly responded that
he was interested in working together. I
immediately appreciated Nikolas.
Regarding his music, he had something, and people were interested in
being a part of what he was doing. He
received emails daily from people far and wide wanting to get onboard with
him. He could have ignored us, and he very
easily could have stated that we had no success of which to speak. Instead he
researched us, acknowledged we were nothing more than a local start-up, and
said “yes let’s do this.” That was late
2010.
Once we agreed to work together one of the first things he said to me was that our business web page looked like it was 20 years old and had been designed by a child.
He was right. It looked very
dated and unprofessional. Instead of
updating it I just added “Lacking professionalism sense 2010” to the bottom of
the page.
When Nikolas and I started talking I found out that he had
just finished the mixes for his album Solid Gold which ended up being released
in December 2010. We promoted the album
to college radio around April of 2011.
The album did extremely well despite our bare minimum “promo” packaging
(it was just a disc in a white paper sleeve).
It charted in the top ten of many stations and reached number one at a
couple of those stations that mattered. We received a lot of feedback saying
things like “I almost ignored this CD because the packaging was so cheap, but
now I am glad I didn’t.”
The only reason I mention this is because as much as it
shouldn’t matter, it does matter. For
every DJ that overlooked the packaging and listened anyway, I guarantee you
there were ten that didn’t listen because of the packaging. Every success has a small degree of failure,
and every failure is a lesson learned.
I can’t honestly say that I learned my lesson after just one
failure. Later, on a different project, I
would hire an even less expensive company to mass produce our promotional
copies. When I received the discs they
looked fine. They looked like what I
purchased so I sent 300 out to radio stations.
After the discs were sent, I put one of the remaining copies in the CD player
to listen to it. It didn’t consist of
the music we were promoting. The “discount”
manufacturing company got our order mixed up with another order which happened to be from a church. This meant I had
just sent 300 copies of a Sunday sermon out to radio stations. Luckily the album was a compilation that we
were producing so no artist was harmed in the making of that mistake. After that we quit using promo copies and
just sent the full “commercial” packaging with each promotion.
Because the album Solid Gold was finished prior to Nikolas
and I meeting, our intention was to work with Kite Flying Robot on promoting
the album then Lackadaisical Productions would go all in and produce and
release the band’s next album. That
ended up not working out because unfortunately the band waited five years
between albums. KFR’s next album “Magic and Mystery” was not released until
2015, a year after the music died.
The idea of promoting other bands to learn how to promote
our own band ultimately worked out well.
Unfortunately during the process all the attention had to be focused on
the bands we were promoting. The deeper
we got into working with more and more bands the further away we got from
focusing on our own music.
Our second album “Paradigms In The Design” was released
September of 2013, three years after our first LP. By this time we had achieved a considerable
amount of success promoting bands, but all of that was coming to an end. For years the writing had been on the wall,
but now all doubt was gone. Radio was
virtually dead, and college radio was pointless. The majority of our press contacts were
writers that worked for actual newspapers or local entertainment
magazines. Either way they were writing
for a source that people slowly quit reading.
As promoters we could easily achieve bragging rights such as "we got this band "x" number or press articles" or "we got this band played on "x" number of college radio stations" but if nobody reads the articles and nobody listens to the radio, what good is it?
Early on, when we didn't know what we were doing, we saw fans respond to our efforts. We received emails, saw blog posts, and/or were mentioned by fans in music forums. Three years later our efforts were more powerful, but we were no longer reaching anybody. It got to the point where we would promote an album, it would reach the top ten at a college radio station, but nobody in that stations market would have any idea about our band.
In the world of college radio there is CMJ (College Music Journal). Think of CMJ as the Billboard Magazine for college radio. The way the CMJ charts work is the stations turn in a report stating what they are playing. Back when people listened to college radio, the listeners would call in and request songs and this would impact the list of what the station was playing. As people quit listening, the requests stopped coming, and now the lists are just lists of what the DJs want to hear. It is flattering that the DJ liked the projects we were promoting enough to play them, but other than the DJ nobody heard the music.
Even if we were able to reach people it quickly wouldn't matter. At
that time, around the end of 2013, we didn’t know it, but with legal streaming services like Spotify, people would quickly COMPLETELY
stop paying for music. By the end of 2014 that fact became clear.
We may have wasted our attention learning to be better at promoting music. In a very short amount of time everything changed. We could change with it, but
that would mean dedicating additional focus to being a promoter. Billy and I both agreed we would rather spend
our time being unsuccessful musicians.