John Wicker.com

I did a fairly extensive search today, and couldn’t find the lyrics for Asylum Street Blues (Asylum Street Spankers/Hot Mess). So here they are…

Baby I miss you strapped down in my bed
Baby I miss you while I’m strapped down in my bed
Outside it’s July… December rollin’ through my head

Yeah it’s been a long time since I took the fall
If I did something wrong I don’t remember at all
I look for you out my window all I see is padded walls

I got those old cold molded unfolded asylum street blues
I got those old cold molded unfolded asylum street blues
The questions keep pilin’ up but I’m all outta clues

Something’s tickin’ in my head baby
I bet it ain’t no clock
I could really use some schnapps, or whiskey or pilsner or bock
I just wanna catch a buzz but all’s they giving me is shock

I got them old cold molded unfolded asylum street blues
I got them old cold molded unfolded asylum street blues
My silk hospital gown and my two-tone paper shoes

I’ve played with a lot of different people and in a lot of different places over the last few years, and it seems like there are some common practices that people follow when they’re playing out. It kind of sounds strange to think of rock and roll having a set of rules, but if you want to play with someone more than once, and especially if you’re going to be playing with them a whole lot, here are some tips for getting along, getting paid, and getting asked back to play again. The first part of this series part one is already online.

Be Nice
If you hire someone and they treat you like shit or act like an asshole, would you want to hire them back? Of course not! That applies to the bar owner or whoever is paying you, and it also applies to your band mates.

As a musician, you’re at a show to have fun and be adored, but you’re also there to do a job. Handle the audience with respect, make announcements if you’re asked to, talk up how great the bartenders and the waitresses are every chance you get. Pimp the drink specials or the appetizers, or offer up a toast if you can– anything you do to increase sales for the owner will get you moved up the list of bands to invite back, and if you make friends with the employees you’ll have an in there as well.

Requests
Take requests if you can, and if you can’t play what they want, tell them you’ll learn their requested song for the next time you play there. Offer up alternatives. “Hey, we don’t do Brown Sugar but we do Honkey Tonk Women– how’s that?” When you play the request, mention the name of the person that asked for the song.

And when it comes to making dedications for particular songs, bring up stuff that a lot of people will identify with– play songs for all the baseball fans, or all the redheads, or whatever. Whenever I play “Some Kind of Wonderful” I ALWAYS dedicate it to the ladies in the room, or all the blondes, or something. Play one song for the blondes and then do the next one for the brunettes. If you have a big crowd, you can even make up events to celebrate. “We’ve got a special couple here tonight celebrating their seventh anniversary. They wanted us to play a love song.” Anything that gets an audience to applaud and be happy is going to go a long way towards ensuring they enjoy the show, and that’s a good thing.

Birthdays are a special opportunity– learn “Birthday” by the Beatles or some other appropriate song so you can whip it out at a moments notice. Be sure to announce the birthday before or even during the song, and play it up any way that you can– the person with the birthday will either love it or get embarrassed, but their friends will eat it up. Either way, you’ll be remembered and you just might find the birthday person turns the tables on one of their friends at one of your shows later on.

Build a Fan base on Nice
A following is built one person at a time, and being cool to the people that come to see you and the folks that hire you goes a long way. Personal connections, whether they’re based on an actual interaction or on an emotional reaction a listener has to the music that you play, are the way to build a fan base.

I’ve played with a lot of different people and in a lot of different places over the last few years, and it seems like there are some common practices that people follow when they’re playing out. It kind of sounds strange to think of rock and roll having a set of rules, but if you want to play with someone more than once, and especially if you’re going to be playing with them a whole lot, here are some tips for getting along, getting paid, and getting asked back to play again.

Be on time
Nobody likes to worry about whether or not you’re going to show up. Walking in at the last possible minute can lead to ulcers, gnashed teeth, and excessive sweating.

Life can sometimes intrude, so if you’re going to be late for some unavoidable reason, pick up the phone and let people know what’s going on.

Bring Spares
Whatever you play, bring back up parts. Strings, reeds, picks, cables, straps, cords, power cables, drum heads– they can and will crap out on you at the worst possible time. Have something handy to replace them if you can.

If you can, bring along a backup instrument, and make sure it’s on hand and ready to be played if at all possible. It’s much better to grab your backup axe than to cut a set short so you can change strings. Some will say that you should be able to carry on when strings break, and you should. Other times having the spare will be the only thing that will save the show– if your keyboard stops working it isn’t like you can whip out a screwdriver and a soldering iron and fix it between sets.

Be sure that you’ve got whatever tools you’ll need to make quick fixes as well. A spare set of strings or a drum head is useless if you can’t get your fancy floyd rose unlocked or if you left your drum key on the desk by the front door.

Share
If somebody is hurting for something they forgot or something that just quit on them, and you happen to have one on hand, don’t laugh at them for being unprepared. At least now until after the show, that is. Throw them a spare cable and get the show moving again– and if it’s not an expendable item or a throw away (I’m looking at guitar strings and picks here) then be sure you get it back at the end of the night.

Work Out the Money Before You Get Paid
Work out who is going to get paid what before you arrive at the show. Most bands do an equal split, but some don’t. If someone provides all the equipment they might get two shares. An equal share might be set aside against expenses– rental gear, recording, merchandise and so on. There might be an agent’s cut or there might be an extra taste for the person who brought in the gig. You might be coming in as a last-minute replacement expecting a full cut only to find out you’re getting something entirely different.

Figure out all of this stuff before the money gets handed out. Nothing can kill the buzz of a great show faster than arguing over money.

Help Load In and Set Up
It has been my experience that drummers need the most time to set up, followed by keyboard players, guitarists, bass players, and finally the singer. Of course, we’re not mentioning that someone has to set up the PA gear, or that you might be playing more than one instrument or playing and singing.

Drummers usually have to carry the most gear, but it’s usually bulky but not super heavy. Bass players have the heaviest amps on the face of the planet. Guitarists might have a guitar or two, plus amps and effects. They get off with stuff that’s mostly light, but you have to be careful carrying it around because you don’t want to break the neck off of your Les Paul. Keyboard players tend to have delicate electronics and they usually don’t have the good sense to buy a hard shelled case for it.

And whoever handles the sound? Mixers, power amps, monitors, sub-woofers, mains, multiple 50 and 100 foot cables. And don’t forget the lighting rig, if you have one.

So you’re all set up and ready for the sound check? Great! What about everyone else? A lot of people are kind of callous about helping someone else out, but when it comes down to it, you’re all gonna sound like shit if the sound guy didn’t have enough time to get everything set up and skipped the sound check.

Offer to carry stuff, run cables, set up lights and mic stands, tape up set lists, whatever you can do. Even if you’re not physically capable of lifting heavy stuff, running cables from mics, monitors, speakers, and so on can still be a big help. There are always a million things to do, but many hands make light work. My last band could load in and be ready for sound check in 45 minutes, with every bit of the gear I talked about. When I played Rupp arena last month, it took more like two hours because we didn’t know each other well enough to have a system down.

Look for more tips in the next article in the series.

There’s an old joke about guitar players that goes like this:

Q: How do you stop a guitar player from playing so much?
A: Put some sheet music in front of him.

A lot of guitarists first starting playing by picking up Uncle Fred’s beat up acoustic and noodling around. If we’re serious, we are encouraged to practice until our fingers bleed, to learn scales and chords and arpeggios, to study solos and learn them note-by-note. We are encouraged to study the masters and to learn from their styles, to determine what kind of guitar and amplifier and effects pedals they play. But we are rarely encouraged to actually learn music, and the guitarist who can actually read (much less play) sheet music is incredibly rare. It’s so rare that some guitar player invented []tablature, which is a way to record what frets to play on what string. There are actually pieces of software that you can use to record tablature and play it back.

Most guitarists eventually pick up the name for most of the common chords they play, and they can remember what note each open string on their instrument is tuned to. We can learn all kinds of fairly advanced musical theory by way of different types of scales and modes, different types of chords and so on, but all of that stuff goes out the window the first time the singer wants to change the key of a song to better suit their voice.

I’m not about to say that a guitarist who can’t read music is somehow lesser than one who can. But there are still times when it would be nice to if we musician’s all had a common language that describes the notes we’re playing. You’ll learn that the first time your keyboard player asks you what key you’re playing in and you tell her that it’s the seventh fret on the fifth string. Or when you’re trying to work on an original song and someone tells you that an A flat would sound really good at that one precise moment.

The truth is, we never had a tool like Learn the Fretboard to help us along the way. This site presents a free PDF that gives you a method to learn the notes at every position on the fretboard. It minimizes rote memorization in favor of various methods geared to helping you remember and learn faster. I’ve read through the first couple of chapters and it made a lot of sense to me.

This is NOT going to teach you to read music. But with the foundation of knowing what all the notes are, learning scales, understanding chord theory, transposing songs and so much more now becomes much more manageable.

So if you want to learn more about the way your axe works, talk to other musician’s in a common language, or amaze your bandmates with your late night bar tricks, go forth and study!

So I had been going back and forth between buying a power amp or a powered mixer. I was leaning towards going the power amp route, and I had a rehearsal coming up and needed PA gear. I got in high gear and started doing research. Just to cover my bases, I went ahead and called Carvin about a RX1200, but it turned out that they were out of stock. I wound up renting a Yorkville AP 800 from the Doo Wop Shop in Louisville. Yorkville’s products are well made and highly regarded, and I had considered buying the amp I rented from them. But after I heard the amp paired with my speakers, I wasn’t totally satisfied.

As it turns out, the AP800 outputs 200 watts at 8 ohms, and the PR 15’s are rated at 8 ohms. I didn’t know exactly why I didn’t like the combination, but I wasn’t thrilled with what I heard. I ran the rehearsal with the Yorkville, dodged some farm animals (more on that some other time), and got on down the road.

I hit Far Out Music again but the knowledgeable expert who had helped me out back in August had left, probably to become the sound man for a major touring band. The guys that were there were very helpful but they readily admitted their expertise was not with live sound gear. I didn’t have clear choices presented to me and I still had questions that were unanswered. On top of that, the options there were more expensive than I remembered– either there was a new model with a higher price tag, or the last quote I had gotten had a better discount. Either way, I left without making a purchase.

I was running out of ideas, but I was still determined. Soon enough, I was back in Indianapolis for work, and I headed out for Sam Ash. I was not familiar with Sam Ash before I started working in Indy– Guitar Center I had heard about, but Sam Ash was an unknown. Jason introduced me to this magical place shortly after I started the job up here. Sam Ash is a really big damn music store, and I had spoken with a guy there a couple of weeks back. He had given me a quote on a full set of equipment, including a Furman Power Conditioner, a Samson power amp, and a SKB 6 slot rack case to protect it all with. With my experience with the Yorkville amp, I wanted to hear all of the components together before I dropped coin. Once again, my original salesman wasn’t there, but after some major discussions (which I’ll detail in yet another post), we hooked up the amp in question with a PR 15. And I hated it.

No, hate is too strong a word. I didn’t like it, and it turned out that the fact that my original salesman wasn’t there was a GOOD thing. The department manager who wound up helping me out knew his shit. And his audio gear, too. The reason that the sound wasn’t great, and the reason why the Yorkville didn’t sound as good as I had hoped, was because both of those amps were underpowered compared to the PR15’s, which are rated at 400 watts. I don’t remember what the Samson amp was putting out at 8 ohms, but the Yorkville was throwing out 200 watts at 8 ohms.  Much discussion ensued.

I heard a lot of theories thrown back and forth, and things like “voice cones” and “throw distance” and a bunch of other stuff that I’m not qualified to repeat or smart enough to remember. Long story short, though- I got a Samson PG3800 amp, which puts out about 570 Watts at 8 ohms if I recall correctly. I also got the road case, the power conditioner, and 100 feet of speaker cable. And I’m really happy with the gear that I bought.

So I’ve now got 15 inch mains and around 600 Watts of sound to pump through them. I still need monitors and subs, but this is a bare minimum. My first band played every show we ever did with 12 inch mains and something like 200 Watts. It ain’t perfect but it’s a good start.

So what have I learned? What advice can I give you? When you’re gonna make a purchase, look at the money involved, take your time, and do your research. Don’t be afraid to ask questions, even if you know they’re stupid. Because after all, would you rather sound stupid in a music store, or while you’re standing up on stage?

P.S.- I’ve been trying to scrape time together to get this post written for more than a few days, and it has proven to be more difficult than I expected. I’ve had other posts that I wanted to make, but I told you guys I’d discuss my PA gear next time, and I don’t like to break promises. So lesson learned– don’t promise what the next post is gonna be about 😉

There are a lot of things going on in my musical world, some of which I’ll get into here and even more of which I’ll get into later on down the road. But right now, I’m gonna talk about my plans for the site, just because that seems like the thing to do.

Let’s just cut to the chase, shall we? I’m going to focus this blog on my musical endeavors. I’m not gonna set the world on fire with my programming skills, and it isn’t my passion. I don’t eat, sleep and dream of code– well, sometimes I do, but only when I’m in the middle of a big project with a tough deadline.

Music is always there and it always has been. Music IS my passion. Everything I do is touched by or informed by music. The jukebox in my head is always running. So that’s the reason for the change in format.

I’m gonna start talking about the particulars and the nitty gritty of what I’m doing and even why. That’s really the big deal for me, because I’m going to start telling it like it is instead of trying to figure out the right thing to say. If I am anything in life, it’s blunt. The whole idea of me trying to spin myself goes against every shred of common sense I possess. So to hell with that.

I don’t know exactly how much of the creative stuff I’m going to get into, if only because I’m not entirely sure how that’s going to work for me yet. I have stuff in my head that I’m going to have to figure out what to do with. When I get a better handle on that, I will probably be able to share more of the particulars. But to be completely honest, I’m not confident enough to do that.

So there is my first bombshell- I’m wanna be a rock star on stage and I have confidence issues. Go figure.

I am playing at Rupp Arena tomorrow.

No, not outside in the parking lot. Not in the concourse area or the food court. On the big floor, right there inside of Rupp Arena.

I talked about a big announcement a while back, and then I went completely quiet. Playing Rupp Arena qualifies as a big one, I think. The stage gonna be almost fifty feet wide and 24 feet from front to back. Big.

As far as this gig is concerned, I’m playing at a rather large conference that’s taking up both the Convention Center and Rupp Arena itself.

I’ve been meaning to post about this for a long time, but I have literally been so busy I can’t put three minutes together to get over to make an update. For now, though, let me just say that I’ve been very busy putting things together.

Rock and Roll!

Okay, so there is a really big gig in the works. Not huge. Not earth-shattering. Not a Superbowl Half-Time show. But really big.

I can’t say anything more about it, just yet, but it is looking good so far. So here’s to keeping your fingers crossed…

The open mic at Bearno’s on Sunday was a blast. The food was great, the crowd was awesome, and the music was incredible!

Things were supposed to get started around 7 PM but for a couple of reasons, things were a little late getting started. The first band up were The Cigarittes— these guys had the look down and were playing some awesome tunes… Van Halen, Poison, the Stones, the Doors. Incredible musicians, and they’re all so young! Totally not sure about the name, though.

Spare Parts were up next and we got set up really quickly, which was impressive to me, since we had a keyboard, two amps and two sets of guitar effects, and six people to get in place and ready to go.  I was really pleased with the sound and I could hear what everyone was playing pretty well from on the stage. The real trick, of course, is what it sounds like in the audience– you have to hope for the best, but you never really know. Luckily, Larry (who runs the open mic for Bearno’s) was giving me updates on where the sound was at, and I was able to tweak the sound levels at the mixing board as I sang.

We did six songs– “Some Kind of Wonderful”, “Gimme Three Steps”, “Cumbersome”, “Keep Your Hands to Yourself”, “Honky Tonk Women”, and “Pride and Joy”– and we all had a blast. We had to restart one song because of a technical issue, but we recovered from it gracefully. The crowd seemed to enjoy the music, and we enjoyed playing even more. The biggest deal to me, however, was the fact that we had gotten together to practice exactly one time before that performance. We had literally just met each other for the first time Friday afternoon, but we all knew our parts and it came together really well.

When we were done, a band called Duet Upright (sorry, can’t find a link) took the stage. They had a stripped down and intimate feel, and their harmonies were very tight. I heard them do the better part of “Halleluah” by Leonard Cohen and it was breathtaking, but I had to get the rest of my family home. The next time out, I hope I get to hear more of their performance.

Thanks to everyone who came out to see us, and to all of the new folks we met there!

My new band, Spare Parts, is playing tomorrow night at Bearnos by the Bridge (2nd and Main Street).

They call this “Sunday Night Band Practice”, and it lasts for half-an-hour per band. However, I haven’t played out since August– and since there are live people to play in front of,  and a stage to play upon, I’m thinking of it as gig!

So come down to Bearno’s tomorrow at 7 PM tomorrow night, and check out Spare Parts. Please? Thanks!