Tag Archives: Indie

A Band Called Punchline | Podcast

Posted on by Standard Reply

It took me forever to get into podcasts. Some I have been enjoying lately are Chris DeMakes a Podcast, One Hit Thunder, & more recently A Band Called Punchline. (The former two break-down & deep-dive into songs in totally different yet incredible ways… I highly recommend them to musicians and fans!)

🎶 Don’t sleep on One By Willie, In Defense of Ska, Gumbands (with the legendary Rick Sebak), Lobby Boys, What Makes This Song Stink (Pat Finnerty!), That One Time on Tour, Peer Pleasure, & Weird Al-gorithm. But, this isn’t about those. 🎶

You can listen to all of these anywhere you find podcasts, but I do mostly all of my listening on Amazon Music.

Collage of images featuring the band A Band Called Punchline performing live, showcasing musicians on stage and off, with the band's name prominently displayed in bold letters.

I have absolutely no idea why I didn’t get big into Punchline in the very late 90’s or early 00’s. We all frequented the same places. I had to have seen them. I was active in AiXeLsyD then Gasoline Dion at the time. Their music is in my wheelhouse. I have heard a lot of Chris Fafalios because he produces on Chris DeMakes a Podcast & co-hosts One Hit Thunder. Chis is a great co-host with Matt Kelly & producer with involvement in 2 quality shows. This came up, and I was like… I have no excuse to not check this out as I love music, music documentaries, stories about songs, stories about playing & touring. It’s a no-brainer, right?

Well, I’m 3½ episodes in and the name-dropping alone is mind-blowing. Laga, Logic, AMC, Berlin Project, Mr. Smalls, Soundscape Studios, Garfield Artworks, Josh Bakaitus, Drusky, Joker Productions, mp3.com, practicing in McKees Rocks, and more I am surely forgetting. It puts me back into the days when I worked on the assembly line at Sony with Alf from Circle of Dead Children, or when me & An-Die ran into the Zao guitarist at Westmoreland Mall. Everyone was in a band. Ha ha. I remember Dirtbag Rob saying he had an AiXeLsyD T-shirt or patch before he was in the band.

I was at so many shows at Laga. That’s where I got to see Doyle play the Misfits intro in their green room one time. I remember Logic from that killer Take Me To Your Leader compilation CD. Man I miss punk comps. AiXeLsyD was practically the house band at AMC for a bit. We played every open stage we could. Berlin Project always worked the crowd well. I remember playing Mr. Small’s at least once with Gasoline Dion, not sure if Ernie and the Berts ever played there or not. I also remember being in the back for some reason. Maybe hanging out with Dethlehem? Me & Jason were hanging out with Next Stop Detox when they recorded at Soundscape in McKeesport. I was in Detox for like 30 seconds and recorded a single at Studiophonix in Mt. Pleasant. I think Gasoline Dion played Garfield Artworks… Maybe EaTB too? I know I saw a bunch of shows there. Ernie and the Berts recorded drums there once, I think? (It’s oddly not on my places I have played map.) We practiced at the shady ABC Storage in McKees Rocks and up in Allentown for a bit.

It makes me think of all the cool bands & all the fun times we had back then!

But, the cool part is hearing Berlin Project’s story, from the guys themselves. They seem like genuine nice people who set out to make some music, make a living doing it, and accomplished that! It’s presented documentary style and sort of gives me NPR vibes.

I am rooting for them every step of the way while I listen, When they talk about literally losing a tire off their van, using calling cards & pay phones, running up cell phone bills in the Nokia brick & flip phone days, purposely putting music on Napster just to get it out there, paying way too much for recording, sleeping on floors & booking tours, meeting other great and not-so-great bands… it all just hits. I am not and never was a pro touring musician, but I get it. I respect the hustle, and I appreciate the insight & shared experiences.

If you were around the southwestern PA scene in the late 90’s or early 00’s, ever picked up a guitar (or bass or drums or keys or horns), or are a fan of punk, indie, & DIY… you gotta check this out.

It’s on a bunch of platforms, so find it how you find yours… or start here:

Apple | Spotify | Amazon | YouTube

I’m starting to dive into their stuff. I really dig the old stuff on their bandcamp that they sort of don’t recognize as much any more. Check out their website. I also want to see their music special on Amazon Prime. Punchline fans, what are your favorites? Can you make me a top 20 playlist in the comments? What are your memories of seeing them play or hearing their songs for the first time? What about if you played your own shows in & around that time?

The story of the Dewey Decibel FlipOut guitar.

Posted on by Standard 2

Bert - a.k.a. ERiC AiXeLsyD - rocking the Dewey Decibel FlipOut Lit Cigarette model.
Bert – a.k.a. ERiC AiXeLsyD – rocking the Dewey Decibel FlipOut Lit Cigarette model.

OK. So, you probably know I like weird guitars. Someday I will have profiles up of all of them on another blog. You may have even read about my Dewey Decibel FlipOut before, or have seen the FlipOut before (or even the knock-off Flipped brand). While the Galveston BB Stone certainly started my weird guitar obsession, the FlipOut solidified it. Sadly, I came to it after AiXeLsyD had been done for a while, and I think even after Gasoline Dion. It some incredibly small and ancient circles I will always be known as ERiC AiXeLsyD. I did, get to gig out with the FlipOut, quite a lot, with Ernie and the Berts.

A while back, I had the opportunity to reach out to Jimmie Bruhn about the Indy Custom Flycaster, and way way back I did some research on the BB Stone. (I have to try to recover all the stuff that used to live on SquareGuitar.com, all those links are now dead.)

I thought it would be fun to try and track down Dewey Decibel (a.k.a. Joe Jerardi – or is it Joe Geradri? Stage names are fun.), and get some insight on the inception and production of one of my favorite axes!

After some emails exchanged, here’s the story from the man himself!

Line of FlipOut guitars & BottomOut basses from the Dewey Decibel website.

Hi Eric,

I’m awfully sorry there was a delay on getting back to you.  I honestly have had my hands full this year, and it slipped my mind.  Just for your patience, I can offer the most information I’ve shared about my FlipOut days to this point.  And thanks for asking.

I was performing solo in NY back in the 90s, playing CBGBs and many of the NY clubs. My stage name was Dewey Decibel, and I always performed hooked up to an IV pole.  Just a thing I did – never mentioned it on stage.  Played electric guitar, with synth sequencers for backing, plus voice. 

One day I thought of this backward guitar – Its just wood I thought – so it would play the same, just super unsettling, and deeply rock and roll to my mind.  I found one shop out of all the NY guitar techs who would follow my instruction. It was Rick from Carmine Street Guitars.  I love him because he didn’t even blink, just said “sure, I can do that”.  I went on to form a band called… Dewey Decibel, and kept doing shows, and finished up my third album “Unnecessarily Beautiful” with those guys, great players Jon Howard, and Martin Miller.  We did good work.  I always played the original FlipOut, which started its life as a Fernandes brand Strat.  I always had the IV drip by my side.

Back cover for the Dewey Decibel album Unnecessarily Beautiful | Original FlipOut prototype of a modified Fernandes Strat copy pictured!
Back cover for the Dewey Decibel album Unnecessarily Beautiful | Original FlipOut prototype of a modified Fernandes Strat copy pictured!

We did no real promotion for the album, for any of my albums, so they reside in resplendent obscurity, rarely to surface.

Here is what exists online, though there are 3+ albums and an EP somewhere:

https://deweydecibel.bandcamp.com/

Dewey Decibel | Unnecessarily Beautiful | Pictured: Martin Miller (Drums) ● Dewey Decibel (Guitar & Vocals) ● John Howard (Bass)
Dewey Decibel | Unnecessarily Beautiful | Pictured: Martin Miller (Drums) ● Dewey Decibel (Voice/Guitar/Keys) ● John Howard (Bass)

At shows, my guitar got so much crazy attention I conceived of the nutty plan to use a release of these guitars to bring attention to my band.  In 2003 I went to the NAMM show on the recommendation of a friend, to look for a manufacturer.  There I approached many confused factory reps from Asia, and ended up having luck with a Korean group who were ready to please.  I ordered some prototypes during that year, and tweaked things.  Then at 2004 NAMM I introduced them to the unsuspecting earthlings, took orders, and started shipping out of San Francisco once the container ship arrived.  That first NAMM show was funny funny stupid funny. 

Dewey Decibel - FlipOut & BottomOut
Art from the Dewey Decibel website.

The stupid part was that Fender lawyers sent me a letter on the opening day of my NAMM  launch that I was in breach of their trademarks.  This is a much longer story but I ended up licensing with Fender later, which was great for name dropping and demonstrating to folks that it was a quality guitar.

I was living in a warehouse with boxes of these guitars and my drum set.  It was a time of odd existence, taking orders, shipping, doing R&D, and lining up reviews with the big guitar magazines.  The FlipOut got strong thumbs up reviews in Guitar Player as well as Guitar One.  I did care about the feel of the neck and the pickups.  It’s self evident I think when you handle one.

I was moving forward on the BottomOut bass, having received a few prototypes which worked nicely.  Even took orders.  The problem was that the whole business had me working in too many directions, and exhausted.  I’d gone to Europe, and did a bunch of sales, there and in Australia too.  I was overworking, and getting wiped out.  This was all on my own, and I’d been living with some fantasy that these cool guitars would elevate the music, and demonstrate my sovereign rock and roll whimsy.   But alas, the FlipOut project ended at around 500 guitars because I was exhausted, the R&D was too slow, and I couldn’t parlay the thing into working for another manufacturer.  I was too much of a lone wolf for them.  So I went back to graphic design and animation.  I’m an animator today living in incredible San Antonio. I also continue writing and recording a new album, to be released secretly into thrift store bins.

The guitar colors were just my favorites at the time, the names were inspired by memories. Barry Leventhal was I think a kid I played in little league with.  Austin really had cabs colored like the guitar.

I’ve seen the FlipOut rip-offs coming from Europe/China, and they look ridiculous, all backward and stuff.  Just joking – I guess it was inevitable someone would cash in.

Hey thanks for your interest.  Hoping it fills in some detail. 

Thanks

joe

For the Raging Guitar Houdini in you! (ddB)™ What led Dewey Decibel, Brooklyn's recording enigma, to do what he did to his guitar that night? Frustration. His friends had snubbed him, his car had been totaled, but worst of all, his reading comprehension was way down, and he could feel the stares when he entered a room. That fateful night, Dewey did grab for his guitar, slamming his bedroom door, not to emerge for countless weeks (though he did leave once to go to a class on "Appalachian Fingertip Dancing"). It was during these weeks, through a period of painstaking research, made even more difficult by an ill-fitting lab coat, Dewey did travel to the edge of insanity. But once there, decided he'd rather be at the brink of madness, so he quickly switched when no one was looking. And when at last he did emerge, witnesses reported he held in his hand something resembling a guitar on muscle relaxant. Dewey Decibel's FlipOut™ was in their midst. And now, it is in yours. www.flipoutguitar.com Write to us at flipout@deweydecibel.com The guitar design configuration of Dewey Decbel's Flip Out™ is a trademark owned by Joe Gerardi of Dewey Decibel Inc. Any replication of this trademark is prohibited by law. Dewey Decibel
Until now, this is pretty much all that was out there on the FlipOut!
Dewy Decibel FlipOut models | Invisible, Lit Cigarette, Barry Levelthal, Austin City Cab, Scandalicious, Shameless.
FlipOut models & colors

How cool is that? The entire story from the man himself! I urge you to go check out the music of Dewey Decibel.

The only mods I had done to mine is the inimitable Aaron Hutzel drop in some GFS Lil Killer rails. This was not a kock at all to the original sound, but the humbuckers are more my thing.

Check out the Facebook fan page if you’re a fan, would like to share photos of yours or you with it in action, have one for sale, or are looking for one: Facebook | Dewey Decibel FlipOut

I would also, of course, love to hear from you in the comments!

If you want to see me and my FlipOut in action, check out the stuff below this list of links.

Also, check out these links if you’re looking for more:

Ernie and the Berts “Toybox”:

Ernie and the Berts – “Everybody Poops”:

Ernie and the Berts – “Kate Winslett” (A poor cover of The Silver Brazilians):

Ernie and the Berts – “Ikea”:

Me just rocking this one in the basement in 2016:

Guest Post: How to book your band.

Posted on by Standard 4

I’ve posted advice for existing and aspiring bands before, and I thought this email from a pro would be useful.  It was sparked when I saw his Facebook status the other day: “Great way to start the day: my favorite venue in the country complimented my email skills in contacting them to booking a date. It’s the highest praise I could hope for.”

The status went on to some comments & basically the author said he’d share the knowledge with those who cared to learn.  I asked if I could post it in a blog, and here we have it.  If you’re in a band on any level, pay heed to the advice below.

As far as background on Bengt, he’s in a band (& been in many), he records bands, he’s booked bands, and he’s generally been in every part of the scene.  He knows what he’s talking about.

Action Camp

Action Camp

On to the advice & the guest part of this guest post:

♪♫♩♬♩♫♪

Alright, so here is what we usually send like 99% of the time. There always a bit of customization but this is the basic format:

1. Greeting, name the booker if you know it (usually listed on indieonthemove.com or their website)

2. Band name (with a link to the website), genre, location.

3. Date(s) requested in bold. They love that, it makes it easier read. If you can swing 3-5 dates that’s best, it gives them room. Do them a favor and check the website for those dates first, they appreciate that a ton. Also make sure to follow their booking procedure to the T. A lot of places have a specific way they like to work (Facebook message, Sonicbids, email format, etc). If you do it right it shows you listened so you’re already at the top of the pile.

Also, if another band that’s played there before suggested it, tell them so. It’s like introducing yourself to anyone else and starting with saying you have a mutual friend. It’s a job reference.

4. Links to music, video, press – let them decide if they want to book you. The more you talk about how awesome you are and why you should be booked, the more they think you probably suck and are trying to gloss over it. It’s like handing someone your demo and saying it’s not your best work.

5. If you played there or in the city before tell them. If you know what you drew and stuff be honest, they love that.

6. Offer to help build the bill, and specifically name bands you know or have contacted already.

7. Thanks in advance, Thanks for your time, etc.

8. ALL of your contact info including phone numbers. It shows you are easy to reach and you have your shit together.

One final thing: DON’T say someone famous produced your record, quote random blog reviews, list facebook or twitter numbers, anything like that. No one cares about that if they know what their doing in the working touring circuit. Steve Albini producing your record won’t make 100 people come out in Dayton on a Monday night, and facebook and twitter followers are ostensibly your imaginary friends that only you can see. Plus, even you have 4,000 people odds are only 10 of them are near the venue you are trying to book.

Here is exactly what I sent to Southgate House:

Hello Morrella,

We are Action Camp, an art rock duo from Pittsburgh, PA.

We’re looking to see if you have Friday February 15th or Saturday the 16th available to book in the Revival Room – both look open on your calendar but I wasn’t sure if you would do a full house those nights. Our music is pretty different from what’s going on those nights so I’m not concerned about audience bleed over. This would be our 4th time to Southgate, 7th time in 3 years in the Cininnati/Newport scene. We know plenty of bands so we’d throw a bill together with 2 or 3 locals to help support.

– You can hear our music at actioncamp.bandcamp.com or at our website below.
– Here is a recent video from our 2012 summer tour
– And some press from our Winter tour just a couple weeks ago.

If these are unavailable I’d love to work something out in the future. Southgate was/is by far our favorite venue on tour, I can only assume the new house is great. Sincerely, I (Bengt) booked a venue in Pittsburgh, and based many of my practices on the way SGH was run by Rick and his crew.

Previous dates:

Parlour 10/1/2010 (Gallery Opening, free show, 100+ attending)
Parlour 1/2/2010 (w/ Duppy a Jamba, 97 paid)
Parlour Summer 2009 (Flux Capacitors last show, well attended, don’t have stats)

Our most recent dates in the area were both in Cincinnati:

12/8/2012 The Comet Cincinnati, OH (100+, free show)
7/5/2012 Sitwells Coffeehouse Cincinnati, OH (smaller acoustic show, last minute add on tour)

Thanks in advance, can’t wait to see the new place,

– Maura + Bengt (Action Camp)
http://www.action-camp.com
actioncamp@gmail.com
###.###.####

So that’s it, pretty simple. Just be honest and to the point. I also should point out that this was 1 of 10 venues we emailed on Christmas, and he got back just a day later with this response:

“Thanks for writing. Those dates aren’t announced yet, but they are spoken for. How about Wed Feb 13, or Sun Feb 17?

“PS – very well done email, especially listing previous show turnouts. You’re way ahead of the curve on that one, and it did persuade me to jump on this, and get you in!”

I always email every venue that would work for us in a city, it’s better to have choices than no show at all.

Hope this all helps,

– Maura + Bengt (Action Camp)
http://www.action-camp.com
actioncamp@gmail.com
###.###.####

♪♫♩♬♩♫♪

So, there you have it.  Got it?  Good.  Doing research in advance before you ask for dates seems like a no-brainer, but apparently it needs to be said.  I guess some bands naturally put more thought into stuff.

I’m not sure how you’d approach this if you had no previous gigs in an area… perhaps we can get Bengt to comment further for new bands, first time tours, etc.?

Check out the Action Camp video here:

Related Articles

Bands vs. Venues: Who promotes? Who makes money? Can everyone “win”?

Posted on by Standard 11

Rick from the Fallout Shelter brought up a great discussion topic on Facebook, and it inspired me to blog about it.

That’s a private group on Facebook, so here’s what was said in case you’re not a member:

Rick D'Agostino Looking for some feedback from the music community out there. Do you think that the $5 cover charge keeps you or your friends from attending shows at the Fallout Shelter that they might otherwise attend to check out new bands? In other words, are folks only willing to pay a $5 cover to see bands that they already know? And as a band member, would you rather play to a larger crowd with a tip bucket or to just a few people and make some gas money? I am thinking of making some changes. you can reply here or message me if you want. thanks!

Rick D’Agostino is looking for some feedback from the music community out there..

Dig?  So now, you have the gist of it.  My blog may go on its own little tangent, you never really know with these things.  It’s certainly worth talking about.

First, it’s clear that I’ve never been in a band where making money is the ultimate goal.  I’m amazed over & over that venue owners let me come in, set up, and play in front of people.  Sometimes we get money from the door, sometimes we get money from tickets sold, sometimes we give it all to the touring band, sometimes it’s a charity gig, sometimes no one shows up to pay anyone, sometimes we get some gas money or a couple of bucks to dump back into merch or something.

This is how it’s worked nearly everywhere and every time I have played:  Most of the time, the cover is $3 to $5, unless we’re opening for a national act & it’s through a booker where we’re asked to sell tickets.  Some call the latter “pay to play“, and rail wholly against it.  Some people have no problem selling tickets.  Some bands like mine do, but we try anyway.  At bar gigs, the cover charge is usually $5.  Sometimes it all goes to the bands, especially if it’s a bar & if you provide your own door person.  Sometimes it pays for a sound guy (if there is one) & a cut goes to the bar, then the bands get paid.  Sometimes locals defer and let the out-of-town bands take the cash (if there is one).  Sometimes you can play for free at open stages, sometimes you pay to get in at open stages.  Sometimes no one comes out to see you, and no one gets paid.  Sometimes the band gets free or discounted drinks.  It’s generally a no pay or break even situation.  You hope to sell merchandise and/or CD‘s if you have them, and the bar hopes to sell drinks & food.  The bands should promote and the venues should promote.  Some venues think the bands should do it all, some bands think the venue should do it all.  Generally 3 or sometimes 4 bands are all on the same gig.  Sometimes, it all works out, sometimes… it doesn’t.  This is how bands who largely play their own music are forced to operate.

That’s only 1 way.  There are many other “scenes” here overlapping in the ‘Burgh.

Cover bands… or human jukebox bands, can generally charge a fee for playing a certain style, genre, or “songs that people know”.  This is to provide entertainment to drunken Yinzer patrons who want to yell out requests.  You probably usually play 3 sets, maybe 4… and you’re the only entertainment all night.  You’re probably playing pop country, classic rock, or a little mix of everything.  Professional singers/songwriters operate pretty much the same way as described above, but can get away with putting in more of their own material.

High-class…  I know a band that plays funk, and can get $5000 a gig at the least.  They put their twist on a bunch of songs, dress up, bring lights, and put on one hell of a show.  I’m pretty sure I could never command that much cash for what I do… but how is one less relevant or entertaining?  They do weddings, corporate parties, and “events”.

I’m sure there’s other stuff out there that I’m not even aware of.  I can’t really speak for any other parts of the scene than the one I’m in.

I’ve heard the argument that charging only $5 is devaluing our craft.  Bands should demand more to be heard live.  It worked for Yuengling.  They raised the price on their beer in the late 90s/early 00s and they took off ahead of the other “microbrews”.  Should we then put a higher value on ourselves & our art?  If we raise the price do we raise our expectations?  Do we raise our worth?  Do we raise the value of our music & entertainment?

I also see that a cover charge can make or break a show.  Times are changing.  People aren’t spending money on entertainment.  Music is seen like it’s all supposed to be free.  Why would someone pay for a live show?  To me, if you don’t have $5 on you for a show, maybe you shouldn’t be going to a bar in the 1st place.  $5 might get you 2 beers if you’re a butthole & don’t tip the bartender.  Then again, we hardly ever walk away with any money anyway (the Fallout Shelter is an exception here, we get paid well there, regardless of turnout), so why not let people in for free?

The tip bucket.  I’d play for one.  I have no doubt that we’re entertaining.  Why not, right?  Do all bands split the tip bucket?  Or go per performance?  That if the 1st band up gets all the cash & the “cleanup” band gets nothing simply because the patrons ran out of cash?  Are we nothing more than indoor buskers if we play for a tip jar?  Is it a better measurement of our entertainment value to work for tips?  Does it devalue our art to basically beg for donations to support the rock n’ roll cause?

I certainly don’t want to see my favorite venues close because they can’t afford to operate.  I like to play them, I like to see other bands in them… I want them to do well.  I want them to continue to host my band & other bands.  I even want them to make a buck so it’s all worth their while, and so they can do it to make a living.

I just want to play.  I don’t care where, or for how much.  I have fun doing it.  I think this is an important discussion to have, though.  What is the value of live rock n’ roll?

So…

  • Would you play for less of a cover charge?
  • Should we charge more for shows?
  • Should bands play for tips?
  • How should the tips be split?
  • How does the venue make money?
  • Who pays the sound guy?

Leave your opinions in the comments below!

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Onlywatchthebandwithaguy(orgirl)thatIknowinit-itis

Posted on by Standard 4

This ties in with an earlier blog post.  I’m just trying to figure out how to reach people.  When people who have never heard of us catch us play, we generally have people coming up to say they dig it. It’s a good feeling.  I’d like it to happen more often because I think the band is doing a fun thing, and I’d like more people to share in the fun.

Getting people to come out in the first place is one struggle.  Getting yourself in front of an audience that’s already there is another struggle.  Getting people to watch you once they’re there seems to be an entirely different struggle.

We'd like to thank Bobby for coming out tonight!

Has this ever happened to you? Yes, it has.

Lately I’ve seen a trend of bands telling people saying “hey we’re 1st, come early” or “hey we’re last, come late” then their fans show up for just them & don’t bother to check anyone else out.   I generally tell people to come for the whole show & check out the other bands.  We try to book shows with bands we dig, just for this reason.

Spider-\m/an

Spider-Man :: This has nothing to do with anything other than the fact that I found it hilarious.

I hate to come of as a whiner, and I know I will to some readers.  I’m just trying to express my frustrations, and this blog is a forum for just that.  In fact, it’s my forum for just that.  I’m trying to work it out for myself & to possibly get some insight from other local (and some not so local) musicians.

In fact, I think I have ranted about this very topic online before, maybe just a similar one… but I can’t seem to find it anywhere.

I also don’t want to dismiss the people that come see us at just about every show.  Your presence is incredibly important to us, and we value it.  We just want some more people there to watch with you, and we don’t want things to get stale where you’re seeing the same show over & over.  Even if you’ve only caught us once, or if you’ve bought a T-shirt, or told us you liked a video online… you are awesome and we truly appreciate your support & attendance.

I recently saw the worst case ever of this crazy only-watch-the-band-with-a-guy-I-know-in-it thing going on.  We played a show where people watched the band they came to see, then just absolutely bailed.  Not even the bands stuck around to check out the other acts, one of which was a touring act & the reason we were all playing the show.  It’s disrespectful.  I get that stuff comes up, & sometimes you need to go.  It happens.  Sometimes there’s burnout.  Sometimes there’s arrogance.  Sometimes there are good reasons.  Sometimes you’re just being ignorant.

I know personally that a bunch of people from my wife’s family came out to a show at a bar once where my wife & I absolutely love the wings.  We had told everyone how cool the place was, they all decided to come to the ‘Burgh to eat some legendary wings & watch my band play… killing 2 birds with one stone.  They sat through one band that everyone liked, then through a 2nd band that was just absolutely awful… one member was so drunk and/or high that he would strum the guitar and look down at it dazed for a minute or so while apparently hearing stuff that none of the rest of us could.  This was all endured just to see us play.  The place was packed all night, the bands & their fans watched each other, and everyone had a good time.

Not to judge a book by its cover, but I all kinds of judged books by their covers the other night and I hit the nail on the proverbial head.  A quick scan of the room revealed some crazy demographics.  More specifically a bunch of old people trying to look cool and standing on tippy-toes watching their kid play with no general comprehension of what was going on up on the stage or around them.  If I’m calling them old, you know they were old.  We knew these were parents, aunts, uncles, and neighbors… and they were going to split as soon as their kid’s bands was done.  Boy, did they ever.  If it was a cartoon, there would have been a cloud of dust & a cartoon noise.  Whoop!

It must be happening everywhere because the touring band had it written into their contract that they weren’t to be slated to play last on any of their shows.  You can’t blame them.  You tour to build support for your album, and if no one sees you play, no one’s going to buy your album or you merch or come see you the next time you roll through town.  We took the cleanup/closer spot because none of the other bands would.

Do you know what it's like to be on the bill and to play for fifteen minutes and the only people there to see you are the other bands and their girlfriends? Don't talk to ME about Rock n' Roll! I'm out there in the clubs and on the streets and I'm living it! I AM ROCK N' ROLL!

Do you know what it's like to be on the bill and to play for fifteen minutes and the only people there to see you are the other bands and their girlfriends? Don't talk to me about Rock n' Roll! I'm out there in the clubs and on the streets and I'm living it! I AM ROCK N' ROLL!

We didn’t help their cause because we apparently weren’t a draw either.  We watched the touring band, & they watched us.  The handful of people that came to see us were there for all of the sets that night… and the show started an hour or so later than it was supposed to.  It was awesome that the touring band actually stuck around to see us play.  I’m sure on the road they’ve seen crappy band upon crappy band night after night… but it was an unparalleled show of respect for us, and assured us that the sound guy & doorman had to stick around until we were done.  Ha ha.

My boyfriend's lame-ass band... live at the Radisson

Playing their new hit, ''Girl Girl Girl''!

Well, there were more people there to watch us… since it was a rare all-ages gig for us, we had an under-ager and her mom eager to see us… we were told we’d be rocking about 8:00pm.  We eventually went on much much later, way past the under-ager’s bed time.  So, two people who bought tickets & came out expressly to see us had to leave early and were unable to see us because of all the ridiculousness and shuffling.  Then the dozens of people who came out to see the other bands watched them then left.  Immediately.

The Sitter

Try as he might, Jeremy could just not meditate in front of a stereo. Live music is the only way to go.

It would be nice to say that whoever sold the most tickets had to go last… but then again, they did sell a lot of tickets, so that has a certain amount of pull as far as when you want to go on.

I didn’t hear any of the opening bands even mention the touring band… the headlining band that (again) we were supposed to be there in support of.

Before you say that my band sucks (you’re certainly entitled to your opinion), I’ll say that no one who left early would know, because they didn’t even give us a chance.  I’d rather clear the room myself than have it cleared for me.  How do you expose people to your live show, if the people in the place don’t even stick around for one song?

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Cancer Benefit Show

Posted on by Standard 1

Cancer

Image by GDS Infographics via Flickr

Borrowed this from the Ernie and the Berts blog…

⚕☣☤☣⚕ Attention Kids Under 21 and People Who Hate Cancer:

We have a show coming up that you ought to make an extra effort to attend.  We don’t do many all ages gigs, so this may be your only chance for a while.

This formerly had a slightly more impolite name, but it has been toned down a little bit:  P!$$ ON CANCER: A Musical Collaboration to fight for a friend’s life!

A friend of Bert’s has set up the show, and it looks to be (the good kind of) chaos.  Disgust in Disguise are a bunch of cool cats and it looks like there’s a really diverse set of musical genres happening, as well as a silent auction and some food & drink specials.

We’re asking you to come out, support a good cause, listen to some music, eat, drink, & be merry.  Please don’t literally pee on anything or anyone.  (This means you, Brad.)

Here are the details in case you missed ‘em!

When your body is your enemy, how would you choose to fight?

Join us as we take a stand against a friend’s cancer.
Help us fight his silent war.
March with us, beside him, as we tell his cancer to F@#! off!
He’s ours. We’re not done with him, yet!

The Bands:

  • 12:00 AM | Voices and Vessels | FB / RN / My_ / @t | (Metal / Post-Hardcore)
  • 11:00 PM | Disgust in Disguise | FB / RN / My_ / @t | (Metal / Hardcore / Punkrock)
  • 10:00 PM | Ernie and the Berts | FB / RN / My_ / @t | (Rock / Pop / Punk)
  • 09:00 PM | Lyndsey Smith | FB / RN / My_ / @t | (R&B/Soul / Funk / Pop)
  • 08:00 PM | Midnight Rose | FB / RN / My_/ @t | (???)
  • 07:00 PM | The Ele[mental] | FB / RN / My_ / @t | (Rock / Alternative / Indie Rock)
  • 06:00 PM | The Long Knives | FB / RN / My_ / @t | (Indie / Psychiatric / Distofuzzadelic)

The Place:

The Details:

If anyone has any more details, links that I missed, or a flyer, please let us know in the comments!

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