Hello My Friend,
It's been a long time since the last one of these. Major changes have taken place. More live shows, less recording. Studio torn down, studio reconstructed.
The 2 main changes are really that due to life and my favorite engineer and amazing musician, Tony Livadas has moved to LA. He was cool enough to get me started with helping me set up my studio a year ago and managed to contribute his engineering and playing skills to some of what is in store for the next album. It will be my 3rd, called The Cry Of A Bird.
The other major change is the passage of time and all that it does to help me redefine what I want to get across in terms of the songs, instrumentation and production of the record. The ball got kicked off properly with my interpretation of the 1812 Overture by Tchaikovsky, which took quite some time to get the way I liked it and will likely get a bit more work before the release. Then it was making a studio version of the song "Perfect" which is now a staple in my live shows.
I've played around 8 full shows this year so far which is sadly a record. Along the way, I've made a lot of friends, like Anthony Ilczuk, who decided to give a go at trying to full on produce something of mine in the studio. Given we only had 2 hours, the short, sad ballad "Goodbye, Goodbye, Goodbye" was cut. Anthony and I both liked it and the only reason we had to cut the session short was that I had a gig that night in Naples, where we were recording and Ant was running sound for that. He did a great job on that and is really a master of music and like Tony, it is an honor to work with someone like him. Along the way, through hearing my cousin's new material that I liked a lot (Thanks cuz Marky D, you rock!), I was introduced to Mike Pignataro, who is an outstanding musician and engineering, mixing and production wizard as well. In terms of bands, I've made great friends with band members of Kurv and Lowlight Empire, both bands in Naples, Florida that I've had the good fortune to hook up with and open for. I was also lucky to meet the guys from 3MG and have them open one of my shows recently.
One good thing is I've managed to find the 5 or so acts in South Florida that cherish new, original music as much as I do. Speaking of original music, that's just what I'm making now, using every bit of angst, love and imagination that I have. At this point, there has already been more personnel involved than on the 1st 2 albums, which I think is great. I started calling my inner circle the "Sound Panel". We don't have custom T Shirts but I'll whip some up. I only need to make 10 or so. In addition to sparking up around 15+ new songs for TCOAB, I've been back into the project I've been working on with keyboardist extraordinaire Ollie Eastwood, from over in England. Lots of Moog, Piano, Hammond, Pipe Organs, Mellotron...the works. The music that he has been working on is something I am really excited about being a part of, despite the production being pushed back a bit. It isn't often a musician gets a chance to be a part of such a unique project that they 100% want to do.
Anyway, I'm lucky to have listeners still, all who like the music to some degree or another. Even if they didn't I'd still be trying to make my tracks as good as possible. This set will not cater to the taste of listeners and if it does, it's a happy accident. In today's musical climate, there is no reason to be anything other than yourself "on stage or on record" as Rob Base once said. The only person who has skin in the game at the level I'm at is myself. There are no plans or hope for big profits from doing what I do...Or the illusion that if I got the right opportunity, through one way or another, I'd reach a mass audience. I'm just not willing to kiss that much ass as that really isn't an artist's job. Well, there will be no rush in getting the next Leibowitz album done or the Eastwood project. Despite the lack of any pressing need to get this done by the cry of fans, there is a fire in my soul that keeps my fingers on strings, my hands on the sticks and my mind toward making the best music I can. No compromises.
Your Friend,
Josh (Leibowitz)
Monday, July 29, 2013
Thursday, January 10, 2013
So You Want To Make Money Making Music (Or At Least Not Take A Loss)?
So You Want To Make Money Making Music (Or At Least Not Take A Loss)?
By +Joshua Leibowitz
With the +ReverbNation social media event coming up on the 16th, I've taken a closer look at my own experiences as well as some of what I've seen with other artists, to come up with my take on how independent musicians are making money these days.
I didn't get into making music for the money, but anyone who makes music on any level will tell you that it costs money to make music, even if it is buying a tape recorder, playing the spoons and selling it on the street on cassette tapes. There are production costs that need to be considered. Now that example might be extreme but if you are making your own music in your own studio or a reasonably priced one outfitted with an in house engineer, it's going to cost you some money. Then there's mastering if you choose to go higher fidelity as well as artwork which helps in both online promotion and physical packaging of your work. The nice thing is you can make all of it back over time as music and art never dies in the digital age and neither does marketing and the desire of music lovers to own your work, that's if they like it.
Aside from being prepared for music sessions, writing music that you yourself would love to play as much as possible live and recording it there is more that needs to be done for this to happen. Once you've gotten some ink on the paper or sounds on the hard drive it is good to know that you are ready to start building your "beyond telling your friends in person audience". You go and find sites like ReverbNation and SoundCloud to house your music, giving would be listeners or fans a way to see if they like what you are up to. When the album, EP or single is ready, there is BandCamp as well. A great way to directly drive your audience to your music catalog is through Facebook, Twitter, Myspace (yes THAT Myspace) and +Google+. If you already have gigs (concerts), using blank CDs and making an email list is a great way to engage people who have already heard you play. Having the CD and any additional merchandise prepared for purchase and on hand is even better but in either case, you should provide info on how people can learn more about your music and where you are going with it. Music in hand leaving the venue with listeners leaves people curious to spin the music perhaps on their way home or later, especially if they liked the show. They'll probably leave it in the car...or chuck it!
This audience is one you will need to continue to engage on a friendly and musical level. You will try and get reviews so there are 3rd party opinions with links attached so you don't have to be too much of your own promoter, as that could come across as bragging and some people just might not like it. Some reviewers will insist on going over hard copies only as opposed to what is on your sites. Be prepared to spend some cash shipping them. Music is very personal and people like to approach getting into an act different ways. At least I do. As time goes on and you continue to release your music and see the song listens you have accumulated as well as fan counts and sales, you must continue to make more music and keep the outlets that you like most to promote your music and spread the word about it current, so you don't end up being forgotten or lost in the mix of new artists that are popping up everyday. There are millions of acts trying to be heard and a number of factors plays into whether or not you will be one of them. They want to know that you are passionate about what you do and that they have the chance to either buy your music, obtain your music otherwise and see you live--That's if you're lucky and skilled enough to pull this off. I've seen my favorite bands over 10 times and have bought some of their albums twice when one copy has gotten lost or scratched...or when the work has been remastered. That's what rabid music fans do. They are proud of the music and musicians they support and they don't want you to let them down by not caring about the work as much as they do. That would be a real disappointment I'd imagine. You need to believe in what you are making 200% and if you are serious about getting to the stage and never give up. You're a musician, you couldn't quit if you tried anyway.
The money part. OK, you've got 50,000 fans...Let's say 10% have picked up your album one way or the other and paid for it with an average price of $10 (downloads are cheaper than buying hard copies or should be), You've made $50,000 before subtracting your production costs. This is good if you are a solo artist but split that 4 ways and...well, it's still good but below the poverty level. This means you need to get out and play more shows or start playing shows if you aren't already, sell many more albums and stay on the road to sell as much as possible to keep what you are doing possible...maybe even boot out one of the lazy guys in the band. Gas is not free. Neither is food or hotel rooms. Hey, at least you covered the costs of making the album and put some nice scratch in your pocket, but you still need more or less a full time job if you want to live with some degree of safety and comfort. As long as you keep things in perspective and know what you want to get out of the experience, you really can't lose...Otherwise...
(listen)
Guitar For Money
www.facebook.com/leibowitzmusic
www.reverbnation.com/leibowitzmusic
www.leibowitz.bandcamp.com
By +Joshua Leibowitz
With the +ReverbNation social media event coming up on the 16th, I've taken a closer look at my own experiences as well as some of what I've seen with other artists, to come up with my take on how independent musicians are making money these days.
I didn't get into making music for the money, but anyone who makes music on any level will tell you that it costs money to make music, even if it is buying a tape recorder, playing the spoons and selling it on the street on cassette tapes. There are production costs that need to be considered. Now that example might be extreme but if you are making your own music in your own studio or a reasonably priced one outfitted with an in house engineer, it's going to cost you some money. Then there's mastering if you choose to go higher fidelity as well as artwork which helps in both online promotion and physical packaging of your work. The nice thing is you can make all of it back over time as music and art never dies in the digital age and neither does marketing and the desire of music lovers to own your work, that's if they like it.
Aside from being prepared for music sessions, writing music that you yourself would love to play as much as possible live and recording it there is more that needs to be done for this to happen. Once you've gotten some ink on the paper or sounds on the hard drive it is good to know that you are ready to start building your "beyond telling your friends in person audience". You go and find sites like ReverbNation and SoundCloud to house your music, giving would be listeners or fans a way to see if they like what you are up to. When the album, EP or single is ready, there is BandCamp as well. A great way to directly drive your audience to your music catalog is through Facebook, Twitter, Myspace (yes THAT Myspace) and +Google+. If you already have gigs (concerts), using blank CDs and making an email list is a great way to engage people who have already heard you play. Having the CD and any additional merchandise prepared for purchase and on hand is even better but in either case, you should provide info on how people can learn more about your music and where you are going with it. Music in hand leaving the venue with listeners leaves people curious to spin the music perhaps on their way home or later, especially if they liked the show. They'll probably leave it in the car...or chuck it!
This audience is one you will need to continue to engage on a friendly and musical level. You will try and get reviews so there are 3rd party opinions with links attached so you don't have to be too much of your own promoter, as that could come across as bragging and some people just might not like it. Some reviewers will insist on going over hard copies only as opposed to what is on your sites. Be prepared to spend some cash shipping them. Music is very personal and people like to approach getting into an act different ways. At least I do. As time goes on and you continue to release your music and see the song listens you have accumulated as well as fan counts and sales, you must continue to make more music and keep the outlets that you like most to promote your music and spread the word about it current, so you don't end up being forgotten or lost in the mix of new artists that are popping up everyday. There are millions of acts trying to be heard and a number of factors plays into whether or not you will be one of them. They want to know that you are passionate about what you do and that they have the chance to either buy your music, obtain your music otherwise and see you live--That's if you're lucky and skilled enough to pull this off. I've seen my favorite bands over 10 times and have bought some of their albums twice when one copy has gotten lost or scratched...or when the work has been remastered. That's what rabid music fans do. They are proud of the music and musicians they support and they don't want you to let them down by not caring about the work as much as they do. That would be a real disappointment I'd imagine. You need to believe in what you are making 200% and if you are serious about getting to the stage and never give up. You're a musician, you couldn't quit if you tried anyway.
The money part. OK, you've got 50,000 fans...Let's say 10% have picked up your album one way or the other and paid for it with an average price of $10 (downloads are cheaper than buying hard copies or should be), You've made $50,000 before subtracting your production costs. This is good if you are a solo artist but split that 4 ways and...well, it's still good but below the poverty level. This means you need to get out and play more shows or start playing shows if you aren't already, sell many more albums and stay on the road to sell as much as possible to keep what you are doing possible...maybe even boot out one of the lazy guys in the band. Gas is not free. Neither is food or hotel rooms. Hey, at least you covered the costs of making the album and put some nice scratch in your pocket, but you still need more or less a full time job if you want to live with some degree of safety and comfort. As long as you keep things in perspective and know what you want to get out of the experience, you really can't lose...Otherwise...
(listen)
Guitar For Money
www.facebook.com/leibowitzmusic
www.reverbnation.com/leibowitzmusic
www.leibowitz.bandcamp.com
Tuesday, November 27, 2012
The FIRE burns on!
Howdy Folks,
It's been almost a month to the day since my last update and I hope everyone in the US had a great Thanksgiving and those from around the world are in excellent health and spirits! The name of the game has been time management around here but we managed to record our 2nd cut since I opened this studio and resumed work for the next album. So far we have 2 pieces for consideration, '1812' and 'Perfect', both of which are solid contenders. We'll be heading back to the studio in a couple of weeks to do another song and I'm really looking forward to it. With this album not being a concept album, like the last one was, it lets every song fight for itself. I expect it all to sound different from track to track. The feedback has been very positive, which is a tremendous boost. I make the music to my own satisfaction but to know that there are people enjoying it makes it really special. I'm grateful for it. You could say THANKFUL for it. I'm thankful that Nick Katona at There is Hope Records included '1812' in the Sandy storm relief compilation as it's nice to do something useful with my music any time I get the chance. I'm also thankful to Tony Romero at Aiir Radio for letting me co-host his radio show with him. We had an excellent turnout and we'll do it again periodically. There really were some hysterical moments and excellent music as always, but it felt good to do something positive, as we dedicated the show to Gregg and Allison Olson..Gregg, just having had a stroke and recovering from partial paralyzation. Man, I hope you get better soon. Anyway, it's back to work for me with the next track always nagging in my mind for a couple of weeks down the road.
Until then. Peace.
Leibowitz
Listen to Albums
Listen to the Latest
Sandy Relief Album
11/24 Radio Show Replay
It's been almost a month to the day since my last update and I hope everyone in the US had a great Thanksgiving and those from around the world are in excellent health and spirits! The name of the game has been time management around here but we managed to record our 2nd cut since I opened this studio and resumed work for the next album. So far we have 2 pieces for consideration, '1812' and 'Perfect', both of which are solid contenders. We'll be heading back to the studio in a couple of weeks to do another song and I'm really looking forward to it. With this album not being a concept album, like the last one was, it lets every song fight for itself. I expect it all to sound different from track to track. The feedback has been very positive, which is a tremendous boost. I make the music to my own satisfaction but to know that there are people enjoying it makes it really special. I'm grateful for it. You could say THANKFUL for it. I'm thankful that Nick Katona at There is Hope Records included '1812' in the Sandy storm relief compilation as it's nice to do something useful with my music any time I get the chance. I'm also thankful to Tony Romero at Aiir Radio for letting me co-host his radio show with him. We had an excellent turnout and we'll do it again periodically. There really were some hysterical moments and excellent music as always, but it felt good to do something positive, as we dedicated the show to Gregg and Allison Olson..Gregg, just having had a stroke and recovering from partial paralyzation. Man, I hope you get better soon. Anyway, it's back to work for me with the next track always nagging in my mind for a couple of weeks down the road.
Until then. Peace.
Leibowitz
Listen to Albums
Listen to the Latest
Sandy Relief Album
11/24 Radio Show Replay
Wednesday, October 31, 2012
No music?
Not a chance! Been practicing more than ever though in order to play better on the next set of songs. My hunch is it will pay off as I'm always noticing ways to improve. The more I learn, figure out and write between recordings the more evolved the compositions will be. It's pretty funny actually...all these years from when I started, I'm still trying to get my left hand to be quicker on the drums. I'm having a lot of fun with guitars as well...but the real important thing is finding a key that is comfortable to sing in and I think I've nailed that...It would be cool to get a band together but I kind of don't care all that much with no gigs lined up, which I don't care that much about either. To make this music now and hammer away at the project is the most important thing. So, I imagine within the next few months you will hear a few new cuts off the forthcoming album. Getting that 1812 bit out of the way was a step in the right direction! Mailing out more albums and posters this week, like last week and the week before that, which is a beautiful thing!
Thank you for listening!
Josh
Albums on Bandcamp
ReverbNation
Thank you for listening!
Josh
Albums on Bandcamp
ReverbNation
Saturday, August 18, 2012
Oblivion Revisited..Or Visited?
Howdy Folks!
Well I'm in a good mood. With so much going on in the new music department, due to being underway on my 3rd album in a new and fully operational studio all my own, I almost forgot that the 6 panel digipacks and posters are on their way over here and hit my doorstep come Monday....so with all that I shall now be presenting the official roll out of all things related to the release of....................................................................................................................................................................................
THE BEGINNING OF THE ENDLESS SEARCH FOR OBLIVION
*If you want one, please email Josh@STEMarketingSolutions.com and place your order, including your shipping address. Posters $10+shipping. CD $12+shipping. Combo $20+ shipping (DO IT!)*
I have to tell you, it was a fun album to make and the story was a trip to come up with. It really was an EXTREMELY gross take on people and events in reality, twisted all around into a crazy nautical odyssey. The music stuck obnoxiously close to the intended storyline as well as the artwork and making the former happen effectively was a big time challenge!
Naturally, a big part of why this album was fun was that I got to work with engineer, bassist, saxophonist, keyboard player Tony Livadas again as well as with Martin Kornick doing the visuals as was the case with Guitar For Money. All of us have risen a bit since the last project in such a short amount of time. It is apparent in how busy we are! By working with talented individuals on this level it really brought out the best in me and I was locked on on what I felt was a solid idea. Speaking of talented people, I also had the amazing good fortune of meeting and recording with my friends Kev Feazey and Matt Stevens in London. Matt had made that arrangement and I came to town and we came up with the Fist. Kev and I had been working at a breakneck pace for hours and we weren't sure if Matt would be able to make it, but he did and played some incredibly clever parts. What these guys probably didn't know is that I had 5 backup plans should any number of situations occur....a surprise guest, extra time, any no show, etc....I was exhausted, stressed and running on fumes that week by the time we did the session but it came out just right I'd say and it is something I'll never forget.
With such a developed story that envelops The Beginning Of The Endless Search For Oblivion, I plan to not wait to be interviewed to let in on bits and pieces and will be writing segments about the characters, the plot line and some of the inspiration behind the story..the real faces and places in Florida....I'll post pictures and videos as well. People who like this will want to dig their teeth into it and I say by all means...
I think at some point down the line I'll revisit these characters. It would be fun and let more aspects of the "personalities" show. For now, I'm working on less conceptual but equally demanding music that will be different, as what would be the point of doing it all the same?
-Leibowitz
Well I'm in a good mood. With so much going on in the new music department, due to being underway on my 3rd album in a new and fully operational studio all my own, I almost forgot that the 6 panel digipacks and posters are on their way over here and hit my doorstep come Monday....so with all that I shall now be presenting the official roll out of all things related to the release of....................................................................................................................................................................................
THE BEGINNING OF THE ENDLESS SEARCH FOR OBLIVION
*If you want one, please email Josh@STEMarketingSolutions.com and place your order, including your shipping address. Posters $10+shipping. CD $12+shipping. Combo $20+ shipping (DO IT!)*
I have to tell you, it was a fun album to make and the story was a trip to come up with. It really was an EXTREMELY gross take on people and events in reality, twisted all around into a crazy nautical odyssey. The music stuck obnoxiously close to the intended storyline as well as the artwork and making the former happen effectively was a big time challenge!
Naturally, a big part of why this album was fun was that I got to work with engineer, bassist, saxophonist, keyboard player Tony Livadas again as well as with Martin Kornick doing the visuals as was the case with Guitar For Money. All of us have risen a bit since the last project in such a short amount of time. It is apparent in how busy we are! By working with talented individuals on this level it really brought out the best in me and I was locked on on what I felt was a solid idea. Speaking of talented people, I also had the amazing good fortune of meeting and recording with my friends Kev Feazey and Matt Stevens in London. Matt had made that arrangement and I came to town and we came up with the Fist. Kev and I had been working at a breakneck pace for hours and we weren't sure if Matt would be able to make it, but he did and played some incredibly clever parts. What these guys probably didn't know is that I had 5 backup plans should any number of situations occur....a surprise guest, extra time, any no show, etc....I was exhausted, stressed and running on fumes that week by the time we did the session but it came out just right I'd say and it is something I'll never forget.
With such a developed story that envelops The Beginning Of The Endless Search For Oblivion, I plan to not wait to be interviewed to let in on bits and pieces and will be writing segments about the characters, the plot line and some of the inspiration behind the story..the real faces and places in Florida....I'll post pictures and videos as well. People who like this will want to dig their teeth into it and I say by all means...
I think at some point down the line I'll revisit these characters. It would be fun and let more aspects of the "personalities" show. For now, I'm working on less conceptual but equally demanding music that will be different, as what would be the point of doing it all the same?
-Leibowitz
Monday, August 6, 2012
Why Should Artists Make Albums?
.....When hardly anyone but the most loyal and traditional music lovers are still buying them. Have people at large lost the interest in hearing a bunch of songs in one sitting from an artist in favor of the odd tune every now and then released digitally, Youtubed, Spotified, Pandorad, etc?
Change is one of those things that happens in funny ways and over the past 2+ decades, we've seen a lot of it which I feel we are still coming to grips with. At least I am! I was the kind of guy growing up who spent my whole bank account buying albums in the store if I was lucky enough to find them. It was exciting too as some of the more rare rock albums were hard to find. I remember finding the ELP double live album Welcome Back My Friends To The Show That Never Ends (which I am listening to now) as an import after trying to rack it down for months in 1992 or so. I think I paid $25 in 1992 money for it and I was glad I did!!
To someone growing up today this kind of thing is probably the same way I looked at how old fashioned it looked in those movies when people made a phone call and it had to be switched over from some operator at a switchboard. What a hassle!
To put things in some proper perspective, we are in a terrible recession and many are out of work or struggling to make ends meet. To add to that, think about how expensive broadband, cable and the cost of living is and then take a look at how many sold out concerts you see or attend....or have seen poorly attended or cancelled even. It is important for people to have broadband in these times as it makes communication easier and more enjoyable so I can see why families place huge emphasis on that.
Now with digital downloads, legal and illegal, most have given up on paying for or even obtaining music, choosing to stream it instead through a variety of services and getting a CD is almost like a collector's edition...and you know what? That's OK and if it's not, we'd all better get hip to it, because it's reality. People will buy collector's editions at your shows or even will contact you in person or buy it through an outlet or a number of sites.
So to answer my question, the reason artists should make albums is for themselves and for the FANS and people who want the collector's edition. They are the most loyal of your listeners and deserve it. They will be the ones at your shows that are pissed off that you don't have it for sale so you better love them for that.
You also should not shut out the 'loaders. Who's to say that just because their methods of buying or obtaining music is not the way you'd like them to buy it, that they are cheating you or making you fail? You better believe that these folks will be checking your show out or at least thinking about hopping the gate, if you've got the goods.
:0)
Leibowitz
Click here to listen to (in full for free) or buy my albums!
Send me an email!
Change is one of those things that happens in funny ways and over the past 2+ decades, we've seen a lot of it which I feel we are still coming to grips with. At least I am! I was the kind of guy growing up who spent my whole bank account buying albums in the store if I was lucky enough to find them. It was exciting too as some of the more rare rock albums were hard to find. I remember finding the ELP double live album Welcome Back My Friends To The Show That Never Ends (which I am listening to now) as an import after trying to rack it down for months in 1992 or so. I think I paid $25 in 1992 money for it and I was glad I did!!
To someone growing up today this kind of thing is probably the same way I looked at how old fashioned it looked in those movies when people made a phone call and it had to be switched over from some operator at a switchboard. What a hassle!
To put things in some proper perspective, we are in a terrible recession and many are out of work or struggling to make ends meet. To add to that, think about how expensive broadband, cable and the cost of living is and then take a look at how many sold out concerts you see or attend....or have seen poorly attended or cancelled even. It is important for people to have broadband in these times as it makes communication easier and more enjoyable so I can see why families place huge emphasis on that.
Now with digital downloads, legal and illegal, most have given up on paying for or even obtaining music, choosing to stream it instead through a variety of services and getting a CD is almost like a collector's edition...and you know what? That's OK and if it's not, we'd all better get hip to it, because it's reality. People will buy collector's editions at your shows or even will contact you in person or buy it through an outlet or a number of sites.
So to answer my question, the reason artists should make albums is for themselves and for the FANS and people who want the collector's edition. They are the most loyal of your listeners and deserve it. They will be the ones at your shows that are pissed off that you don't have it for sale so you better love them for that.
You also should not shut out the 'loaders. Who's to say that just because their methods of buying or obtaining music is not the way you'd like them to buy it, that they are cheating you or making you fail? You better believe that these folks will be checking your show out or at least thinking about hopping the gate, if you've got the goods.
:0)
Leibowitz
Click here to listen to (in full for free) or buy my albums!
Send me an email!
Sunday, August 5, 2012
A Narrow Escape-A New Album Coming For 2013
Hello!
I hope all of you are in high spirits and enjoying the Olympics or at least some free time to spend at your leisure. When I have that kind of time, I usually end up not using it leisurely. That was the case this past July with most of my "free" time being spent building a monster.
With the old studio I recorded at relocating most likely at the end of the year and Tony on tour as much as he is, I'll be moving forward with my 3rd release playing all instruments, producing as usual, and mixing and editing it as well at my own facility.
Luckily, Tony was nice enough to spot check my gear and we went through all of it to make sure I'd be set and my recording room was suitable enough. It's good to have friends. Now I am set to make music as much as I please.
As of now, I don't have a band and no one is beating down the doors for me to play their festival or venue solo acoustic. This is 100% fine. When I was trying to get booked and playing places I found it to be fun to play but dealing with the promoters or club owners was a pain. Spending the time to get booked is a hassle and I'm not a "career musician".
I'm sure they are dealing with the economy in their own way and when the right venues and contacts are hip to the sound, I'll play wherever, within reason. Meanwhile, I've been coming up with some ideas to put on free concerts. I'm an explorer and I've found a few secret outlets here and there that I could plug into.
So with that, I tune up the acoustic guitar this Sunday morning and adventure into the land of absurdity once again to track down a tune or 2.
Take good care and thanks for listening!!
Josh
Bandcamp Link To Albums
Email Me!
I hope all of you are in high spirits and enjoying the Olympics or at least some free time to spend at your leisure. When I have that kind of time, I usually end up not using it leisurely. That was the case this past July with most of my "free" time being spent building a monster.
With the old studio I recorded at relocating most likely at the end of the year and Tony on tour as much as he is, I'll be moving forward with my 3rd release playing all instruments, producing as usual, and mixing and editing it as well at my own facility.
Luckily, Tony was nice enough to spot check my gear and we went through all of it to make sure I'd be set and my recording room was suitable enough. It's good to have friends. Now I am set to make music as much as I please.
As of now, I don't have a band and no one is beating down the doors for me to play their festival or venue solo acoustic. This is 100% fine. When I was trying to get booked and playing places I found it to be fun to play but dealing with the promoters or club owners was a pain. Spending the time to get booked is a hassle and I'm not a "career musician".
I'm sure they are dealing with the economy in their own way and when the right venues and contacts are hip to the sound, I'll play wherever, within reason. Meanwhile, I've been coming up with some ideas to put on free concerts. I'm an explorer and I've found a few secret outlets here and there that I could plug into.
So with that, I tune up the acoustic guitar this Sunday morning and adventure into the land of absurdity once again to track down a tune or 2.
Take good care and thanks for listening!!
Josh
Bandcamp Link To Albums
Email Me!
Subscribe to:
Posts (Atom)