Tag Archives: rock

∞ Magical Musical Split? @Dethlehem & @TheBloodySeamen should do this…

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Oprah Money & Dick Cheney Power

Oprah Money & Dick Cheney Power – This could be the cover, because… Why not?

OK, so if I had Oprah money and Dick Cheney power, and could treat other human beings like my own personal play things…  I would commission two local Pittsburgh metal bands to do an epic cover split.  Do bands that aren’t punk bands do splits?  Well, they will if they’re my playthings.

I’d want Dethlehem to cover Black Sabbath’s “War Pigs” (with the original “Walpurgis” lyrics of course), and The Bloody Seamen to cover the Beastie Boys’ “Rhymin’ and Stealin'” (which music nerds know features another Sabbath riff from “Sweet Leaf”).

Why?  Why not?  I love obscure and nonsensical covers.  I like these bands.  They would probably not want any part of this.  I mean, guys in bands LOVE it when you go up to them and spew out “You know what song you guys should cover?” then ramble off dumb ideas like this.

Witches gather at black masses
Bodies burning in red ashes
On the hill the church in ruin
Is the scene of evil doings
It’s a place for all bad sinners
Watch them eating dead rats’ innards
I guess it’s the same wherever you may go
Oh Lord yeah

Carry banners which denounce the lord
See me rocking in my grave
See them anoint my head with dead rat’s blood
See them stick the stake through me
Oh

Don’t hold me back cause I’ve just gotta go
They’ve got a hold of my soul now
Lords got my brain instinct with blood obscene
Look in my eyes I’m there enough
Yeah

On the scene a priest appears
Sinners falling at his knees
Satan sends out funeral pyre
Casts the priest into the fire
It’s the place for all bad sinners
Watch them eating dead rats’ innards
I guess it’s the same wherever you may go
Oh lord yeah

Because Mutiny on the Bounty’s what we’re all about
I’m gonna board your ship and turn it on out
No soft sucker with a parrot on his shoulder
‘Cause I’m bad gettin’ bolder, cold cold gettin’ colder

Terrorizin’ suckers on the seven seas
And if you’ve got beef, you get capped in the knees
We got sixteen men on a dead man’s chest
And I shot those suckers and I’ll shoot the rest

Most illingest b-boy, I got that feelin’
‘Cause I am most ill and I’m rhymin’ and stealin’

Shh! Snatchin’ gold chains, vikin’ pieces of eight
I got your money and your honey and the fly name plate
We got wenches on the benches and bitties with titties
Housin’ all girlies from city to city

One for all and all for one
Takin’ out MC’s with a big shotgun
All for one and one for all
Because the Beastie Boys have gone A.W.O.L

Friggin’ in the riggin’, man, cuttin’ your throat
Big bitin’ suckers gettin’ thrown in the moat
We got maidens and wenches, man they’re on the ace
Captain Bligh’s gonna die when we break his face

Most illingest b-boy, I got that feelin’
I am most ill and I’m rhymin’ and stealin’

Ali Baba and the forty thieves
Ali Baba and the forty thieves
Ali Baba and the forty thieves
Ali Baba and the forty thieves

Ali Baba and the forty thieves
Ali Baba and the forty thieves
Ali Baba and the forty thieves
Ali Baba and the forty thieves

Torchin’ and crackin’ and rhymin’ and stealin’
Robbin’ and rapin’, bustin’ two in the ceilin’
I’m wheelin’, I’m dealin’, I’m drinkin’, not thinkin’
Never cower, never shower and I’m always stinkin’

Yo ho ho and a pint of Brass Monkey
And when my girlie shakes her hips she sure gets funky
Skirt chasin’, free basin’, killin’ every village
We drink and rob and rhyme and pillage

Most illingest b-boy, I got that feelin’
I am most ill and I’m rhymin’ and stealin’

I was drinkin’ my rum, a deaf son of a gun
I fought the law and I cold won
Black Beard’s weak, Moby Dick’s on the tick
‘Cause I pull out the jammy and I squeeze off six

My pistol is loaded, I shot Betty Crocker
Deliver Colonel Sanders down to Davey Jones’ locker
Rhymin’ and stealin’ in a drunken state
And I’ll be rockin’ my rhymes all the way to hell’s gate

Most illingest b-boy, I got that feelin’
I am most ill and I’m rhymin’ and stealin’
Most illingest b-boy, I got that feelin’
I am most ill and I’m rhymin’ and stealin’

Most illingest b-boy, I got that feelin’
‘Cause I am most ill and I’m rhymin’ and stealin’
Most illingest b-boy, I got that feelin’
I am most ill and I’m rhymin’ and stealin’

Most chillinest b-boy
I am most ill and I’m rhymin’ and stealin’
Most killingest b-boy
I am most ill and I’m rhymin’ and stealin’

Most dustin’ out b-boy, I’m tossin’ my dust
Most finkinest b-boy, I’m doin’ that finkin’
Most rhyminest b-boy, I’m stretchin’ my shade
Most shootinest b-boy, I think you’re shit

Most rhyminest b-boy, I’ll steal your shit homeboy
Most taxinest b-boy, I’ll tax you boy
Most illingest illingest illingest b-boy
Taxin’ all y’all squares, yeah!

Maybe change “b-boy” to “pirate” or something?  Bandit?  Looter?  Outlaw?  Maybe the line “Because the Beastie Boys have gone A.W.O.L” to “‘Cause the Bloody Seamen have gone A.W.O.L”?  I’d pee my pants if I heard you all rapping.

So what would it take, guys?  Can we get a Kickstarter going, or what?

The Bloody Seamen

The Bloody Seamen

Dethlehem

Dethlehem

Chick-fil-A-Go-Go! 🎸🎤🎧🎵🎶

Posted on by Standard Reply

OK, so it’s been a while since I’ve been productively making music & actively writing songs.  Apparently the bug never goes away.  I have been thinking about doing punk rock-ish kids songs for a while.  (The Sablowskis beat me to it!)

Yeah, there is the AiXeLsyD reunion gig coming up… whenever that is, and it doesn’t seem like Ernie and the Berts was all that long ago.

I saw a contest online last week and it sparked me to get my ass quickly in gear. Music Go Round in Monroeville is holding a guitar giveaway, and I have been mentally drooling all over Eastwood Guitars online for quite some time. The Side Jack is pretty awesome!

It would be really cool if you could help me win this axe by clicking “like” on this post: https://www.facebook.com/video.php?v=698216686929723&permPage=1

It may help to follow or like the Music Go Round Monroeville, PA Facebook page too.  It has to be on that post on their page, no “likes” here or on my link(s) to it on my Facebook profile count.  Voting is only open this week, they pick a winner on the 27th!

As far as the song goes, I threw it together in under an hour with a downloaded app for the tablet, using crappy headphones, the built-in mic on the tablet, and my acoustic guitar down in the basement.  I think it shows.  But, I still think it’s a hooky tune with some potential.  I may have to recruit a few of the usual suspects or even some unusual ones to help me complete the process.

Molly is absolutely terrified of the Chick-fil-A cow.  My guess is that other kids are too. Seems like we can find a whole lot more to relate to with some feet-tapping tunes!

Chick-fil-A-Go-Go

Chick-fil-A-Go-Go

A reply to an anti-band rant from a venue…

Posted on by Standard 3

They sadly had a lot of good points overshadowed by ignorance and arrogance:

I sort of blogged on Facebook itself.  First you have to read the original rant, I’d guess. Here’s what I said:

At first I found this amusing, but the more I read, the more the author seemed like an arrogant prick. Sadly, I agree with a bunch of the points on bad band behavior and have had similar rants as the person trying to organize a show or simply having to put up with the antics of another band.

#21. It shouldn’t hurt to ask.

#22. I think you meant “you’re.”

#23. You’re too cool to have a conversation with someone who may just be bored that they’re there with their kid’s band and they’ve heard all the songs 8004 times?

#35. If you use the R-word, you’re an A-hole. If you use the R-word twice, you’re a double A-hole, and you must shit in stereo.

#36. “Load-In Time.” If it’s a local band and they have a 6:30 load-in time, chances are they’re not going to get there on time. Unfortunately a lot of local musicians have day jobs that have a quitting time of 5:00 or later. Getting to the gig by then may be impossible.

To reply to an overall arc of the list… In general I understand clubs need to have people come to shows or they don’t make money or can’t pay the bands. I understand that a band needs to promote its ass off via word of mouth, flyers, classified and event pages in local rags, social media, and any other way it can… but clubs can do some of that too. I can’t get my head around being a draw. I’ve been in a handful of bands over the years that are generally and sometimes wildly well-received when put in front of a crowd… but have found it difficult to predict a draw or to become a steady one. Sometimes I have brought a crowd, sometimes I couldn’t draw if I had a bucket full of crayons and a stack of paper. How does one gain a steady and loyal following, oh great bringers of so much musical knowledge?

I have played many shows with no pay. I have been paid more than what came in the door at shows. I have bought T-shirts and CD’s from bands who were on tour knowing that was probably the only way they’d eat before they get to the next stop.

Things you missed:

  • Setup/Breakdown – Set your drums up before you get on stage. Take them off, then break them down. Don’t take longer to set up your amp and pedal board than it takes to play your terrible set.
  • Tune silently.
  • Watch the other bands, asshat. Also, don’t play first then take your crowd with you. Hang out, buy drinks, catch another act. Don’t hang out in the parking lot while the other bands are playing then swoop in like a rock star when it’s time for you to play.
  • Don’t complain about the monitor mix after every song, or blame equipment for your epic lack of awesome.

Also:

I should have blogged this, but didn’t think I’d rant that long. Ha ha.

Related reading:

Merry Christmas 2013!

Posted on by Standard Reply

So, I haven’t blogged much over the last year or so.  The new job has me out & around… not near a desk with time on my hands to save a draft & come back to it later.  I also have less time to monkey around on the internet as it’s mostly taken up by our sweet little girl once I am home.  Speaking of home, that’s new too.  We finally bought a house and are no longer renters!

Check out our little sweet pea in an album on Facebook if you’re interested.  This was the day after moving, and 2 days after Molly turned six months old.  Photos by Kristina Serafini.  This was the one we chose for the Christmas card this year:

Stationery Card
View the entire collection of cards.

Hopefully I can adapt how I blog, maybe use the android app… to get my thoughts out there. Maybe it’ll be shorter less link-filled stuff. Maybe not. Maybe I can do drafts with the phone and edit/post/link/add media later.

The house is taking some time to get set up, but eventually I’ll have all my toys in a room that will make blogging and computer time easier.  I also have a nice workbench now so I should be able to monkey with my guitars more often.  I have some ideas to put into play.

This has been a crazy year.  New job, new baby, new house.  What’s next?

How have things been for everyone out there in WordPress land?

In the spirit of Christmas, check out this post, and join in:

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21 Super Cool Nerdy Guitars | FUNKY PICKENS

Posted on by Standard Reply

Check it out! My Batman logo axe made the cut…

21 Super Cool Nerdy Guitars | FUNKY PICKENS.

 

Digital Media vs.Physical Media.

Posted on by Standard 9

The other day I posted a Facebook status, and wanted to expand upon it here.  This is what I said:

I get that digital & cloud media are the next step. I get that ALMOST everything is available for streaming as part of a service. Anyone else weirded out by it? Some stuff… obscure or whatever just isn’t available for streaming. What happens when the companies close or the cloud’s redundant services fail? What happens if someone buys the rights to streaming movies, just to keep them from the public? What if censorship goes out of control and some committee decided certain movies are no longer available? Will they all be lost forever because no one will have physical copies? Don’t say it can’t happen… it has in the past with books.

It sparked a discussion.  Not too long after I posted that, Amazon posted this:

Announcing AutoRip from Amazon MP3: Buy an AutoRip CD and instantly get the MP3 version for FREE. Learn more: http://amzn.to/VMhFaJ

I of course shared it, and it sparked a tiny bit more discussion.

English: Photograph of Roku XDS player with re...

Photograph of Roku XDS player with remote. (Photo credit: Wikipedia)

I like the idea of digital music & cloud storage.  I just purchased a 3TB drive, and in addition to other uses, hope to eventually rip all of my CD’s & put them on there so I can set it up to listen to all of my stuff from any browser anywhere.  Well, after I make a few decisions.

I like the idea of Digital movies & TV shows…  I love having Netflix‘s library available in an instant.  I love being able to watch a movie from Netflix or rent a digital movie from Amazon through the Blu-ray player.

I like the idea of Pandora or Google Play where there’s streaming music there in an instant.  Pandora just disappoints because of the variety of music I listen to… a lot of smaller bands that I really dig just have a minimal or even no presence there.  Google Play at least lets you upload your own mp3’s in addition to purchasing new ones.  Amazon holds your stuff in the cloud too.  I just wish all the music that I wanted was all in one place.

I have had an older external hard drive crash.  It’s not good.  I still need to get it fixed without breaking the bank.  Anything physical can be destroyed…  CD’s & Records can melt or scratch, and not too many people have 8-Trak or even cassette players any more.

My original question is as much about content control & ownership as much as anything else.  Say you purchase a ton of music that’s in the cloud… and that company shuts down.  How do you hold on to that music?  Were you just renting it?  What happens if the parent company gets into a disagreement with the management of your favorite band and their catalog is removed from your clous storage?

Cover of "Idiocracy"

“…a time when people cared about who’s ass it was, and why it was farting!”

What if you bought the movie Idiocracy and it becomes so true to life that it’s banned?  Don’t sit back comfortably and think it can’t happen.  Books are banned all the time by different groups.  No one comes & takes all of your books… yet.  What if the banned book could be deleted from your Kindle or Nook?  All In The Family would never fly on TV now, but what if it was no longer available because of its abrasive humor?

I just feel uneasy about it.

That being said, I absolutely hate cash money.  I hardly ever have it on me.  I like swiping my card for everything.  If I could use it in parking meters and pop machines, I would.  There’s a swing back towards cash though, as credit card company fees are crushing small businesses, especially if you’re making a purchase with a low dollar amount.  Is it odd that I have no problem with my money being intangible,  but when I use to to purchase an album or a movie… I need that to be tangible?

I’d like to get a good discussion going in the comments.

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Playlist by the numbers

Posted on by Standard 16

Lars Frederiksen

Lars Frederiksen

The other day I plugged my crappy old Insignia Pilot into the truck stereo’s auxiliary input,  & I started playing the songs on my trusty & hardly ever updated mp3 player in order by song title.  I have no idea why I decided to take it off of “random”, but I did.  (Sadly, my 500 GB hard drive has stopped working and unless it’s fixed I’ll lose a TON of music, so whatever this Best Buy generic brand mp3 player holds may be it for my collection for a while!)

I thought that “song titles that start with numbers” would be a pretty cool playlist.  I’d thought I’d share some of my favorites.

I noticed I’m missing a song that starts with 8.  Ha ha.  What songs would you put on your numbers playlist?  Dig any of these?

Insignia Pilot

Insignia Pilot

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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:

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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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Brothers of Brazil

Posted on by Standard Reply

We played a show last week with the Brothers of Brazil.  These cats are absolutely nuts.  They’re a ridiculously good show, they’re really nice guys, and they’re incredible performers.  Musically, I’d say it’s a punk ethic with all kinds of samba, lounge, rock, and much much more thrown in.  Supla & João harmonize vocals really well… and are both equally powerful frontmen.  João is all over the place with his guitar.  He goes in one direction, then switches into a completely different mode in the blink of an eye, and Supla doesn’t miss a beat.  It’s just nuts.  I can’t even get my head around how to describe it.  The recorded music has nothing on the live show.

Check them out next time they’re in a venue near you… you won’t be disappointed!

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