OUCH!!!

Well said, Don... Nailed it, imo...

In short, I suppose I realized I could sing pretty well in High School as Solos, roles in various musicals and choral responsibilites (helping other kids with their parts) happened on a routine basis. It continued in college, (just a crappy CC in Pittsburgh) I realized I could hang with almost anyone as long as I stayed within my vocal/musical limitations. (I suppose all baritones want to be 1st tenors, but its wasn't meant to be. I've learned to embrace my lower registers over time, lol...

Instrument wise was where I had to work the hardest. I've never taken lessons and am self-taught. Hanging around some killer musicians when I was younger taught me that I didn't have to be Keith Emerson to be an effective piano/kb guy. I knew quickly I was never going to play at that level (Hmm, maybe lessons would've helped after all???) and instead, decided to become the best support/rhythym player I could be. Primarily a vocalist who was learning how to play, I found that my singing ability really helped me accompany myself and others pretty well. I also learned early on how to play and contribute to a tight, killer rhythm section. There are certain do's and don't and a certain way to "listen" or "feel" the part when playing in that situation. I think I've been blessed with a freakishly good ear and it serves me well to say the least.

Growing older, I sensed my performance level was improving and other musicians and audience memebrs were very supportive, so that gave me the confidence to keep at it. During this one man band phase (which has reached 20 years somehow), the interaction with the audience one finds at NH's, RC's, etc.. has always felt very comfortable to me. I think it matched up quite well with my temperment, personality and skill set.

Realizing the power this music has on my audiences has been amazing. The guys who do the NH circuits for a living know what I'm talking about.

I've also taken some time to listen to other performers in the area. A few I consider talented and pretty good but some kind of suck. In general, those who suck don't necessarily do so because of a difference in talent level, but rather in professionalism, dedication to their craft and a lack of personal concern and how they relate to the residents. There's no excuse for not changing up your shows, not being on time, not keeping the focus on the audience and not yourself. IMO.

As Gary has said several times, all this attentionto detail adds up over time and at some point you're such a force and hitting on all cylanders that the work just pours in. Your reputation, professionalism and quality keeps the bookings coming. Just last night, I booked my 499th and 500th gigs for the year, with 4 regular clients still to reserve their dates due to delayed budgets. I live in Dayton, OH, which isn't that big of a town. Yes, I get some business from Cincy and C-bus, but I'm one lucky son of a bitch to be working this much in this area of the country.

(Somewhere on the PSR Tutorial site (I think) is a rather long-winded essay on what I think is the right way to handle the NH circuit gigs. If someone is really interested, I'm sure its around there somewhere.)

Thanks to Donny for the thread...good topic!

Bill

Bill thats good to hear and you make very valid points.....
have a great year on stage I know I will.

Bill, is this the long winded article you are talking about? http://www.psrtutorial.com/music/articles/marketing.html

All the best,

Gary

Nope.. It wasn't YOUR long winded post, it was MY long winded post, lol...

Here it is, my post is sevceral posts from the top of the page...

Pro Clinic ...

Whether or not to play for the public is question # 1 for me right now. I have been playing one 30 hour recording gig a week (a sound score for a 20 minute film for Fortune 500 companies), plus 20-30 hours at a country club, for government offices and for area philharmonics.


The 30 hours session pays about 6 times as much as the same number of hours for the public. If the project is for broadcast, points add significantly to the income from the project.

Thing is, I don't miss the public (yet) but the structure and pressure to "get it right the first time".

If you listen, there is a score of some kind on almost anything you see or hear on the radio, the net, TV, etc. But, this work is not a series of tunes, with a head, tail and a bridge. Much is sound effects. There are lots of meterless passages...dead space, etc. It's a completely different mindset. There is generally an advertising agency to work with, and 90% of the time, they're just in the way.The score is being produced at the last minute to coincide with the finishing of the entire film edit.The deadline is always 8:00 AM the day after completion, so there is no room for error, making the pressure to "get it right" horrendous. I LIKE THAT!

I can't do both, so I'll be making a choice soon. I'll still go to Dubai to play 4 times a year and keep up my film production, graphics and research work through my production company.

I get lots of calls, so they're either tone deaf or I'm minimally skilled to play live.


Maybe not for long, though!


R.

You'd better keep your butt in the good old USA!

Yep! I agree with DonM. He's pretty smart fella, ya know.

As for missing the audiences, I miss them very much. I got to know hundreds of them on a first name basis, met many of their family members, went to some of their funerals, etc... This is going to be a very long winter for me, and as many of you know, I hate winter in this part of the world.

Donny Pesce may love the cold weather, but us real old farts like temperatures closer to our age. Just talked with a friend in Marathon Key, Florida, he said a cold wave passed through and yesterday the mercury plunged to 77 degrees. All the locals were wearing jackets, while the snowbirds were walking in town with shorts, tee shirts and flip-flops.

Russ, you are very talented, and probably a much better entertainer than you believe you are. If I were in your position, I would think seriously about giving up the high pressure stuff, or making arrangements with the PR folks to give you more time to finish the projects. Bout time you took time to smell the roses before someone is placing them on your casket. I should know! I waited far too long to semi retire.

Good luck,

Gary

If Russ retired, he'd be dead in six months! Besides that he needs the money to keep his collections of guitar, keyboards, cars, scooters, etc., up to date.

My advice to Russ, even though he didn't ask, would be do whatever gives you the most pleasure. MUSIC-WISE that is!