In the previous article, we discovered (hopefully) some of the ingredients necessary for an original band to operate as an AWARE organization.

One of our readers emailed us with question. He was a little confused because he has always subscribed to the “keep your friends close, and your enemies closer” theory. This is a very good point that he raised. However, I’ll attempt to explain why this particular theory isn’t appropriate, in application, for the original band scenario. In the end, it’s up to you to implement the system that you feel is the most appropriate for your original band and your career.

First, it’s very important for us to distinguish the difference between a Top-40 cover band and an original band (read part 1 of this series). In a Top-40 band, generally, every band in the country is playing the same material, the same chops, and the same types of clubs. If another band gets wind of your play list…who cares? What have you really lost? Answer: basically nothing. Whoopty-Doo, so what if a tune by Santana precedes a tune by Social Distortion? The material is already released by the ORIGINAL artist. The job of a Top-40 band is to simply cover what’s already been born. No harm, no foul.

I know…I know, there are thousands of Top-40 musicians who are saying “Wait a minute, we work hard on these cover tunes and sometimes give them our own feel in the arrangements”. Congratulations, that’s what a cover band does! However, can you imagine the enterprise and organization of the CREATOR artist of these wonderful songs; the ORIGINAL.

In Top-40 scenario, it’s OK to keep your friends close and your enemies closer. Why? How else would you know which clubs in the area are paying clubs? Or how else would you know the material that other cover bands are playing? You wouldn’t, except for “Johnny”, the talk-a-mile-per-minute guitar player (who works in a different band) who is a rival of yours.

The ORIGINAL band is completely different! I suppose I should say, the SUCCESSFUL ORIGINAL BAND. The moment the word successful comes into play, it means one thing to me; employing everything necessary to WIN. This is where you must keep those outside of your first ripple (read previous article in this series for explanation of “ripple”.) at professional arms length. This, in no way, means that you’re a grumpy, closed off person or band, it simply means that you’re very, very smart.

A further explanation of “original band” is necessary at this point to further our vision of success in general.

There are basically two types of original bands. One is the band who has played covers for so long that they (the players) decide to write and play their own songs and play them for the locals. That’s right, the locals. They still have no focus on the national or international scene. They’re just fed up with the Top-40 scene and want to take a step beyond. Generally, they get their “fix” from the local audiences who validate them and their original material. But to what end? Hey, everyone knows that when a band goes original, the paying Top-40 clubs are done with you. The club owners are there to make money by selling drinks to audiences who want to dance to familiar songs. Hence, cover bands.

At least this type of original band had a sense of “calling” and they acted on it. Guaranteed, when they turned original, they had a sense of confidentialty. In other words, they didn’t want other local bands to hear their material until it was finished. The key word here is “UNTIL”. Their intent was (is) to surprise everyone (locally) with their material and “sound”. Once again, to what end? Even if there were hit songs involved, once played, the cat’s out of the bag. Further, there were (are) probably no formal copyrights involved, no collaboration agreements, no knowledge of publishing, record contracts, promotion, licensing, foreign publishing, distribution, or anything else that is reality in the “real world” of the music business.

Contrast this with the original band that has a professional plan and are willing to execute it. They’ve researched the industry and have a pretty good idea what it takes to “make a living” on original material. They also understand that there is a good possibility that they will have to say “bye-bye” to their local comfort zone in order to become successful in a big way. Be careful what you ask for my friends, you just might get!

This then, is the difference between the two types of original bands. One, still has only local goals. The other has national and international goals. These national and international arenas are the very essence of what I’m attempting to convey to you. Survival and success (one in the same to me) at this level of originality dictates (demands) absolute knowledge of the industry and a much higher duty of professionalism.

Examine the following scenario:

Original band #1: Someone asks the band if they can come to a rehearsal so they can hear the new songs. “Sure, come on in”, replies the band.

Original band #2: Someone asks the band if they come to a rehearsal so they can hear the new songs. “I apologize, we’d love to have you, however, we’re still in production with the material”.

OK…which original band is the SUCCESSFUL ORIGINAL BAND (even at this level)? Why? This is a form of professional arms length.

In this scenario, band #2 understands that they have very serious goals. They’re not about to reveal anything to anybody until it’s time. Ripples. It’s all about the ripples. Ripples will give you, the original artist, the best shot at IMPACT!

In an original setting, it is not wise to reveal your material, arrangements, and impact to anyone (except those in the first ripple). It’s best to let everyone HEAR the results on the radio. Once you can accomplish this, it’s harder for anyone, on the outside, to mess things up for you. It’s a mission.

Success? Easy! Make ORIGINAL pay off for yourself. How? Several different ways. We’ll cover many of them. Stay tuned for the next article in this series.

Until then, “Wake up Neo, the Matrix has you. Follow the White Rabbit. Knock, knock”.

©2007-2008 Michael E. Fletcher. All Rights Reserved Worldwide.

This entry was posted on Friday, February 29th, 2008 at 10:40 am and is filed under Songwriters And Performers Workshop, The Music Business. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.