When Sound Engineers Suck

Hi there,

Now let me start by saying that I have a lot of admiration for a skillful sound engineer and I count plenty of them as friends.  I make this disclaimer lest last week's rant also featuring a (different) sound guy (For the Love of Mike) paints me with some kind of prejudice! In my mind, the audio engineer is a vital part of the team - and let's face it, they have your sound by the short and curlies, so it pays to be respectful.

However... recently I had the displeasure of working with a very uptight sound guy and I had to do a lot of tongue biting. It all seemed to start when I stepped up to the mike during soundcheck and saw it had a wind sock covering it. Those black foam mike condoms are usually used for outside gigs to limit the interference of wind or other background noise or even reduce breath noise in radio or recording studios. In my experience (I've never counted but I've done an average of 3 live gigs a week for about the last 15 years) a mike with a wind sock is almost never used in a live show that is staged inside a venue. That inch of foam breaks my communion with my beloved mike and I hate it! I had also noticed that only two of the four vocal mikes on stage had wind socks. They had to be there by mistake right? So I took mine off. Well a voice from the control room at the back of the auditorium boomed, 'put that back on!' I did so and was duly put in my place. 

I don't know if that exchange coloured the rest of the events at sound check but it seemed I, along with most of the (very experienced) performers on stage that night, couldn't put a foot right with Mr Persnikety on the faders back there. In this particular show - like many that I do - I perform as backing vocalist throughout the show but leave that side-of-stage position to perform lead at different times throughout the set. So of course it is important I check my sound from my backing vocalist position as well as from other spots across the front of the stage. I'd like to add here that the sound was average to poor through my own foldback wedge and no amount of knob twiddling or suggestions/requests from me (!) improved it. When I dared to move towards the middle of the stage, my foldback ranged from atrocious to non-existent. When I raised the issues (I was trying to be polite, really I was!) he gave me a very condescending explanation of how sound systems work and nothing improved. 

The moral of the story? Well if my blog today is anything more than just a rant, the lesson could be 'the show must go on' or perhaps, 'don't piss off the sound guy'. 

By the way, it doesn't end there. I did a gig in a venue at the end of town weeks later and who should walk backstage? I smiled sweetly at Mr Imperious thinking he wouldn't particularly remember me. I was wrong, ladies and gentlemen, very much mistaken. Stay tuned for our next encounter...

Cheers,
Amanda
www.amandaeaston.com

15 Truths About Being a Professional Singer

Hi folks,

This blog comes from a professional dancer in the US, via Aussie muso Lloyd Gyi - just replace 'dancer' with 'singer' and it is spot on! I couldn't have said it better myself, so I didn't try:

"15 Truths About Being a Professional Dancer"
written by Melanie Doskocil, original post found at her blog, Ballet Pages

1. Dance is hard. – No dancer ever became successful riding on their natural born talents only. Dancers are artists and athletes. The world of dance today is akin to an extreme sport. Natural ability and talent will only get us so far. Dancers must work hard and persevere. Dancers give years of their lives plus their sweat, tears and sometimes blood to have the honor and pleasure of performing on stage.

2. You won’t always get what you want. – We don’t always get the role we wanted, go on pointe when we want, get the job we want, hear the compliments we want, make the money we want, see companies run the way we want, etc, etc.  This teaches us humility and respect for the process, the art form and the masters we have chosen to teach us. The faster we accept this, the faster we can get on with being brilliant.  We’ll never be 100% sure it will work, but we can always be 100% sure doing nothing won’t work.


3. There’s a lot you don’t know. – There is always more a dancer can learn. Even our least favorite teachers, choreographers and directors can teach us something. The minute we think we know it all, we stop being a valuable asset.

4. There may not be a tomorrow. – A dancer never knows when their dance career will suddenly vanish: a company folds, career ending injury, car accident, death…Dance every day as if it is the final performance. Don’t save the joy of dance for the stage. Infuse even your routine classroom exercises with passion!

5. There’s a lot you can’t control. – You can’t control who hires you, who fires you, who likes your work, who doesn’t, the politics of being in a company. Don’t waste your talent and energy worrying about things you can’t control. Focus on honing your craft, being the best dancer you can be. Keep an open mind and a positive attitude.

6. Information is not true knowledge. – Knowledge comes from experience.  You can discuss a task a hundred times, go to 1000 classes, but unless we get out there and perform we will only have a philosophical understanding of dance. Find opportunities to get on stage.  You must experience performance firsthand to call yourself a professional dancer.

7. If you want to be successful, prove you are valuable. – The fastest way out of a job is to prove to your employer they don’t need you. Instead, be indispensable. Show up early, know your material, be prepared, keep your opinions to yourself unless they are solicited and above all be willing to work hard.

8. Someone else will always have more than you/be better than you.  – Whether it’s jobs or money or roles or trophies, it does not matter. Rather than get caught up in the drama about what others are doing around you, focus on the things you are good at, the things you need to work on and the things that make you happiest as a dancer.

9. You can’t change the past. – Everyone has a past. Everyone has made mistakes, and everyone has glorious moments they want to savor. “Would you keep a chive in your tooth just because you enjoyed last night’s potato?” Boston Common TV Series. Dance is an art form that forces us to concentrate on the present. To be a master at dance we have be in the moment; the minute the mind wanders, injuries happen. If they do, see #12.

10. The only person who can make you happy is you. – Dancing in and of itself cannot make us happy.  The root of our happiness comes from our relationship with ourselves, not from how much money we make, what part we were given, what company we dance for, or  how many competitions we won.  Sure these things can have effects on our mood, but in the long run it’s who we are on the inside that makes us happy.


11. There will always be people who don’t like you. – Dancers are on public display when they perform and especially in this internet world, critics abound. You can’t be everything to everyone.  No matter what you do, there will always be someone who thinks differently.  So concentrate on doing what you know in your heart is right.  What others think and say about you isn’t all that important.  What is important is how you feel about yourself.

12.Sometimes you will fail. – Sometimes, despite our best efforts, following the best advice, being in the right place at the right time, we still fail. Failure is a part of life. Failure can be the catalyst to some of our greatest growth and learning experiences. If we never failed, we would never value our successes. Be willing to fail. When it happens to you (because it will happen to you), embrace the lesson that comes with the failure.

13. Sometimes you will have to work for free. – Every professional dancer has at one time or another had to work without pay. If you are asked to work for free, be sure that you are really ok with it. There are many good reasons to work for free, and there are just as many reasons not to work for free. Ask yourself if the cause is worthy, if the experience is worth it, if it will bring you joy. Go into the situation fully aware of the financial agreement and don’t expect a hand out later.

14. Repetition is good. Doing the same thing over and over expecting a different result is insane. – If you keep doing what you’re doing, you’ll keep getting what you’re getting.  If you keep doing the bare minimum of required classes, don’t complain to your teacher when you don’t move up to the next level. If you only give the bare minimum in your company, be happy staying in the corps. If you want to grow beyond your comfort zone, you must push yourself beyond your self-imposed limitations.

15. You will never feel 100% ready. – Nobody ever feels 100% ready when an opportunity arises.  Dancers have to be willing to take risks. From letting go of the ballet barre to balance, to moving around the world to dance with a new company, from trusting a new partner to trying a new form of dance, dancers must have a flexible mind and attitude as well as body. The greatest opportunities in life force us to grow beyond our comfort zones, which means you won’t feel totally comfortable or ready for it."

See you next time,
Amanda

www.amandaeaston.com

Singer Searching for the Sweet Spot

Hi there,

I did a recording session for a Grammy Award winning producer recently. He'd heard my voice before hiring me so while I was nervous, I was reasonably confident it would go OK. 

He played me a few songs he'd written and after a while we got to work. The first one was a rocky number and I did my best to give it some. But I could see on his face and hear in my own head that it just sounded...blah. There were no notes I couldn't hit and I was doing my best to channel Joan Jett but it just wasn't happening. Beyonce was looking down at me disapprovingly from the personally signed photo on the wall. No pressure then.

Now sometimes the problem with songs written by one sex for the other is, no matter how much the writers know about music and songwriting, they just don't quite fit the voice for which they're intended. How often have you heard great singers do mediocre performances because the song just doesn't suit them? That's why song choice and key choice is make or break on TV talent shows like The Voice and when you putting that decision in someone else's hands, well, good luck!

We come to grips with the scope of our own ranges as singers but within that cluster of notes I've realised there are those that make my voice soar and others that are just a bit...blah! In other words, there is definitely a sweet spot and if the song doesn't enter into that neighbourhood then maybe that tune's not for me, not in that key at least. So when a band says: 'Well, we do this song in this key,' I think you have the right as a singer to say: 'Do you mind if we do it in my key?' After all, they don't yet make capos for voices. 

Anyway, the second song we recorded at this session went much better. I could see the producer's face relax and could swear I saw Beyonce winking at me. Bet she knows all about the sweet spot.

See you next time.

How to get the Clap

Hi there,

'Grease' at Taronga Zoo Twilight Series 2013

I was lucky enough to do a gig recently to an audience of over a thousand enthusiastic people. It was on a huge stage with all the lighting and sound set-up you'd expect from a well-produced live music event and a great time was had by all - both sides of the stage. Throughout the entire event the crowd went wild - applause and cheering could be heard for miles.

I did another gig recently to an audience of about 50 people. There was no stage and no lighting. People had to say 'excuse me' to walk in front of us - to get to the bathrooms. Throughout the entire event the crowd went mild - you could hear tumbleweed rolling down the main street.

So what's happened to clapping peeps? The latter style of gig can be bread and butter to many professional musos and I've noticed more and more recently that clapping is a dying art at such shows. Now you may be thinking, people aren't clapping because they aren't enjoying the music. That's the first conclusion I jump to - and I can tell you it's no good for the fragile artistic ego. But then almost without fail, something strange happens after the final song. People from the audience come up to offer their compliments on the performance and press us for more! Ah, so you loved what we did but remained silent in that traditional space left between songs to show your appreciation? 

My theory is that if the venue doesn't show respect for its performers - by offering a proper performance space - then an audience responds accordingly. An audience seems to need cues to do their job properly - and those cues include lighting and a pedestal on which to view their performers. Ideally far away from the toilet door.

The more venues shove performers in the corner on a piece of carpet, the less impact their performances will have. And the more we'll hear venue managers say that live music just 'doesn't work'. And then we'll all be listening to the sound of one hand clapping. 

See you next time,

Amanda

Shut Up and Stress Out

Hi there,

Husband and I were complaining to each other last weekend about having way too much on our plates. We catalogued our stresses to each other. 

Husband: I've been playing guitar for 18 days straight - not one day off - and for at least 7 hours today. Now tonight I have a rehearsal so I still don't get a break.

Stress out...or else!

Me: I've got to learn the lyrics for 6 songs by tomorrow morning and I've got to do the artwork and replication of my new EP-oh and actually record the thing, rehearse the band, promote the launch, keep my crowdfunding campaign on the boil...

Then we looked at each and laughed. Our lives really aren't too bad are they?

Thinking back 10 years to what Corporate Me, slaving long days over a hot computer keyboard at Microsoft, would have said. She would look at Today's Me and say:

'Oh boohoo. So the very career you've always dreamt of is thoroughly filling up your life now is it? So you're oh so busy singing and performing for a living and creating new songs and recordings. Sounds dreadful.' Then she'd look at me with a snarl and snort sarcastically.

We all need to vent sometimes but we also need perspective. A famous experiment on rats shows that those placed under stress, as long as they had the tools to manage it, were far healthier than those who didn't have any stress at all. Many believe humans are the same.

So, advice from old Corporate Self to Today's Me: 'Stress out, it's good for you!'

Cheers,

Amanda

PS The Crowdfunding worked - thank you!

Farts on Facebook

aka 'Over-Sharing'

Hi there,

If you were sitting on a bus and the stranger next to you told you about their fungal infection and how, in great detail, it curtailed their sexual exploits, you'd probably get off a few stops earlier than originally intended, wouldn't you?

I saw a cabaret show recently where the artist, within the 8 minutes that her show ran, told the audience about the great love of her life who had a long drawn-out battle with breast cancer and shared intimate and gory details about how she lost that battle. It was a heartfelt story and obviously deserved our great sympathy but don't you think it is all a little, well, too much information? At least for our first brief meeting with her?

I think nowadays many of us demand to know much more about the artists who create the music, movies and musings we love. We want the ins and outs of our favourite celebrities' every day lives from their underwear preferences to their spiritual beliefs. I understand why, but as a performer myself, I'd like to retain a modicum of mystery and like to think that people will take a bit of time to let my full story unfold.

Am I being old-fashioned or do you agree that the age of Twitter and Facebook is turning us into a community of over-sharers, where no bodily function is too inconsequential to require its own tweet or status update? 

Most of us have a 'story' to tell, whether it's a crime we've committed or a calamity we've confronted. I've got a doozie of the latter variety -  maybe I'll tell you about it over a glass of Shiraz one day. But I'm loathe to drop it onto an audience, who are probably just out for a night of entertainment to forget their own tragedies. Am I wrong - should I use everything I've got to 'make a connection' with people I'm performing to?

While tip-tapping on the keys to write this very blog, one of my best friends rang me to suggest that I did in fact become more public about my particular ordeal. I am trying to 'crowdfund' for my latest recording and with 8 days to go, am sorely under target. She believes that being more revealing could actually help my campaign and is, after all, simply sharing a saga that brought me to where I am today and could even prove inspirational. I respect her take on things but am still stewing on it...

Love to hear what you think.

Oh and by the way, here is the link to my crowdfunding project - your help is much appreciated: www.pozible.com/amandaeaston

Now one thing I don't mind sharing is my video - above - please pass it on - share share share!
Cheers,
Amanda

The Name Game - Hairy!

Hi there,

What's in an album name? I mean what was Adam Ant thinking when he released 'Dirk Wears White Sox'? Oh that's right, it was 1983. A decade for great album names, like Jermaine Jackson's 'Let Me Tickle Your Fancy'. I can see how the 70s could sire REO Speedwagon's 'You Can Tune a Piano, But You Can't Tuna Fish'. But what was Paul McCartney's excuse with his 2012 offering of 'Kisses on the Bottom'?

So, I'm trying to come up with the name of my new EP. My first album was called 'Amanda Easton'. Well I'd run out of creative energy after writing all those songs! The second was 'Chanteuse' suggested by an audience member. I like that one but the pronunciation caused consternation among radio DJs everywhere who ended up calling it 'Chantoozie'.

I have been stewing on the name for the new EP for quite a while. Mentioned my dilemma to husband, as he was hanging out the washing this morning. He said, quite out of the blue, how about 'Out of the Blue'? It's the name of one of the songs on the EP and it has double meaning...

Around 10 years ago, during an annus truly horribilis, I felt that my head was on fire so I dyed my hair flaming red. Fast forward to two years ago and life delivered me another corker to send me running for the dye bottle. (At least it wasn't a tequila bottle - we all have our particular coping mechanisms!). 
'Blue Velvet' I now am and 'Out of the Blue' is the name of the new EP.

If you'd like to be involved in it, please check out my crowdfunding link: www.pozible.com/amandaeaston and check out this little vid:

Cheers,
Amanda

For Singers: On Being a Bitch

Hi there,

Since it's the season of goodwill, I thought I'd talk about the importance, as a singer, of being nice. Niceness is underrated. People almost have an expectation of diva-ish bitchy behaviour from female singers, especially if there's more than one of them on the same stage. I ran 'PopTarts', a weekly female singer-songwriter night, for almost 10 years - dealing with female artistes en masse - and I completely disagree that un-niceness is the norm. I was always impressed at the warm camaraderie between the singers and not only do I think it's the right way to be, I think it's good for your career.

I do a piano bar-type gig once a week, largely attracting international tourists. It's quite common for visitors to come and get their photo taken with the piano player and I, at the end of the night. Recently, a family came up to the piano and I got my best smile ready. Instead of posing with us, the mother glared at me, snarled 'excuse me' as she pushed us to the side and deposited her 20-something daughter at the piano. Mother instructed daughter to place her hands on the piano as if playing and then directed her (also snarling) son behind his camera phone, in what became a mini photo shoot. 

 Just after they left, my boss approached us laughing. Apparently this family were his guests this particular night. He had invited them because the mother had enquired after the singing gig for her daughter. The venue hires singers every night of the week so he is always interested in new performers. When my boss sat down with them for a while, during my performance, he asked the group what they thought of me. Apparently they stuck the boot in. There were harumphs and comments like 'oh she's very average'. Perhaps this is what they really thought, but is this the way to get yourself a gig?

Well you'll be pleased to know it didn't work. When the mother asked Bossman when her daughter would be able to start, he said something to the effect of, 'you can have the gig when this singer is finished with it and that could be another 20 years, so don't hold your breath.' Didn't she realise she was not only putting me down, but also criticising the judgement of the person that had hired me, ie Bossman himself? The Maitre d' told me the group had been disparaging of me to him as well! So with all the staff talking about it, and laughing at what they considered their transparent efforts to land the gig, they had managed to absolutely guarantee that no kin of theirs would ever work at that venue.

In any industry, people want to work with nice people, right? It makes life run more smoothly. Anyway, everyone knows Santa strikes naughty people off his present list, so here's to nice!

Merry Christmas everyone,

xAmanda

R.Fukert

Hi there,

A few years ago I was travelling through Europe with one of my BFFs. We got to Germany and went to stay with friends in Berlin. After a day out, BFF and I returned to the apartment block but the names of the occupants, rather than apartment numbers, were listed next to each doorbell outside the main door. As we scanned through the list to find our friends, we came across the name 'R.Fukert'. We both saw it at the same time and howled like teenagers and the phrase 'R.Fukert!' became the theme of our trip. We got to Cologne airport to travel to Prague and found out we didn't have the appropriate visas. What did we say?' We said 'R.Fukert!' and jumped on a train to Paris instead.

'R.Fukert' doesn't end there. I like to incorporate the 'R.Fukert' attitude into my everyday life as much as possible. If you have read my blog before, you might know that I have been a pop and jazz singer for more than 10 years now but have recently decided to become a cabaret artist. I did a lot of band competitions, talent quests etc when I was starting out in the music business and frankly couldn't think of anything worse to do again at this stage of my career. But I feel like I am starting again in the cabaret world, so when I saw that applications were open for the '10th Annual Cabaret Showcase' in Sydney, I said...
'R.Fukert!' and submitted mine.

The heats and finals for the Cabaret Showcase are going to be in late December. I don't know yet whether my application has made the cut, but will let you know through the mailing list. To subscribe, please contact me here.


We never did meet R.Fukert, but whoever you are, be it Mr, Mrs or Miss Fukert, thank you for, ah, being you!
xAmanda

Sex - Scene it?

Hi there,

I've joined NaNoWriMo to finish the first draft of my novel this month. Writing every day makes the book really come alive in your head and I feel like I'm living simultaneously in parallel universes. The characters tend to take on lives of their own and start making decisions and choices that you hadn't planned for them. 

So what do I do when two characters decide they want to do the rumpy pumpy? Far be it from me to stand in the way of lust. Trouble is, I have to write it! I mean, my mum is going to read this. Do I put all the detail in, complete with throbbing members slipping into ham wallets (thanks for that lovely phrase, random Google search)? Or can someone just say, 'Take me darling!' closing the literary door before the x-rated stuff starts? I know 'Fifty Shades of Grey' is making squillions but personally those sex descriptions far from tickled my fancy or anything in the proximity. I wonder sometimes if a bit of mystery isn't better. 

What do you think - should I let my characters do the jiggy jiggy in private or do you want a blow by blow of bumping of uglies, every dirty detail of the doona dance?

Cheers,
Amanda

'Take the Money and Run' Gigs

aka The Corrimal Leagues Club Syndrome

One day I got a call from ah...Mr S, offering me a gig at a leagues club down the South Coast of NSW. Mr S's regular singer had a family function on this particular night so he needed a replacement and a friend of a friend had recommended me.  The gig would be a duo gig - I'd be singing along to backing tracks with some guitar strumming courtesy of Mr S, most likely surrounded by poker machines and disinterested punters. I said yes to the gig, even though it was far from the type of work I wanted to do. At this time, I was in the middle of recording my first album and I was doing lots of wonderful band gigs with talented musos in great Sydney venues. But as a freelance singer relying on the ups and downs of work in the music world, I sometimes filled the gaps with what I called 'take the money and run' gigs like this one.

Anyway, a month later - two days before the gig - Mr S calls me to say his regular singer could do the gig after all so I would no longer be needed. Now to describe how I felt at this... I didn't really ever want to do the gig, but I wanted to be the one to say no! I thought I was above the gig - yes arrogant I know - yet I was the one being rejected. Mr S actually said, 'look I'm sorry, but this is not just any gig, it's Corrimal Leagues Club you know. I don't want to lose the gig by using just any singer.'

Now I'm going to name drop here but I need to put this into perspective. At this time, I had just performed with Powderfinger at the ARIA Awards at The Entertainment Centre and was about to go on tour with Wendy Matthews. I was speechless when Mr S made it clear he didn't think I was good enough for his corner-of-the-pokie-room gig. But I did manage to regain my voice in time to spit out the most impressive parts of my musical cv down the phone line. And I do remember finishing with something like: 'so I think I could probably handle Corrimal Leagues Club don't you?'

I didn't handle the situation with much grace, and I know it was my fault I was in the situation at all. Mr S didn't know me from Adam and he was only protecting his turf. He shouldn't have cancelled me last minute but if I thought I was so good, what was I doing accepting a gig that I considered so far beneath me? I would have been better off leaving myself free in case another, 'better' gig came along.

In a similar situation a few months later I took a gig with a Mr H. He didn't cancel me last minute - unfortunately. I did the gig with my eyes on the door the whole time - worried someone I knew might walk in and see me. After the gig, I got in my car to head the hour and a quarter home. Ten minutes into the drive my car broke down. I sat by the side of the road waiting for the NRMA for over an hour. Did I mention the torrential rain? I had to be towed to a mechanic near my home and the towing charge cost me $20 more than my gig earnings that night.

I did eventually learn my lesson and I now call this the Corrimal Leagues Syndrome. And whenever I get asked to do something that doesn't feel right for me, but I'm tempted to do just for the money, I remember Mr S!

Disclaimer: Corrimal is a nice place and I'm sure they've got some great entertainment at their local Leagues Club :)

How to Get on the Radio Part 3

Hi there,

The last coupla blogs have been concerned with getting music onto the all-important community radio networks in Australia. Don't worry, I know you want the low-down on commercial radio in Australia - that's coming in the next blog. But I thought I'd attack the more achievable stuff first.

Internet radio is everywhere on the, uh, internet nowadays. So how do you pinpoint which stations to target in the vastness that is cyberspace?

Two of the best directories for interent radio I've found are: http://www.internet-radio.com and

http://www.radiotower.com.

They have listings by genre and indie/unsigned sections as well as the typical music genres. It's a matter of filtering down to the ones that are right for your style of music and visiting the websites individually - it may be a long process but you've got a pretty good chance of airplay if your targetting is good. 


iTunes is also useful - there is a Radio link under the Library header in your iTunes navigation menu. Click on that for a catalogue of hundreds of internet radio stations, categorised by genre. While you're there, don't forget the podcasts. 

Here are a few of the net radio stations worth singling out:


Pandora. Apparently it has more than 50 million listeners worldwide. It uses the Music Genome Project to delivers customised radio to each one. Once the Pandora system learns someone's musical preferences, it serves up a continuous stream of music the listener should actually like. Check out Pandora’s not-exactly-straightforward artist submission guidelines here: http://submitmusic.pandora.com. It's free to join.


Jango customises radio for its users too. "Jango Airplay" is a promotion service that gives emerging artists guaranteed airplay on Jango's stations, as "similar artists" alongside the popular artists of their choice. Packages start from about $10 for 250 plays. www.jango.com

Last.fm also matches new music to users' tastes. It's free for artists and labels to register but Australian listeners have to pay a subscription fee. http://www.last.fm/

Radar Music is an Aussie music site that features interviews as well as streaming music. Upload your music for free. www.radarmusic.com.au

One of great things about a lot of internet radio is their ability to link your tracks directly to iTunes or Amazon - and that's pretty hard to do from a stereo!

See you next time - I'm going to be talking about getting onto Commercial radio in Australia...

Cheers,

Amanda

Songwriting - Therapeutic or Tedious?

Hi there,


I've decided this is the year I finish the first draft of my novel. As a result, I've been reading a lot of how-to books on the subject to help nudge me along. Every single one so far has said that most writers don't actually enjoy writing. They enjoy having written, the satisfaction of finishing a piece of creative work. But the laborious process of getting the words in the right order is often plain frustrating.


I am hoping that learning more about writing fiction will also help me improve my songwriting. I've got to admit, those days when I'm wrangling rhymes and slaving over syllables can be more about exasperation than inspiration...but oh how I love having written!  So can you compare lyric writing and writing a book? Let's see, I'm going for 85,000 words for my novel - a song for me will be more like 150. But of course you have to consider rhyme and singability for song words too. And then there's that pesky music to go with the words.


A piece of advice that seems to be consistent in these 'Dummies Guide to Writing your Novel' type tomes is to allow yourself to write freely. It really helps to silence your internal judge at least for the first draft. So this week one of my goals will be to write a quick pop song. Get it out in one go without agonising over adjectives and getting vexed over verses. No editing. No refining. No censoring. Muzzle that inner critic and let the fun begin!

Size isn't Everything!

Christmas tree has come down, time to make plans! I've been talking a bit about making Album No 3 up until now, but I've changed my mind.

Remember, back in the day, when you used to buy singles? As in the plastic variety, not the downloadable doodads. For an artist, it was a big deal to release a single and get the physical product manufactured, distributed etc. You'd usually have at least two singles from the album and then release the album (LP) itself.

Some people opted to release EPs instead but I always found them annoyingly short. As a listener it meant I had to get off my bottom after only 15 or 25 minutes to press the repeat button or change the disk, compared to the at least 40 minutes playing time you'd get out of an album.

Well a lot of this is irrelevant now isn't it? I know one of my greatest enjoyments is making playlists for my plethora of music-playing gadgets, from a selection of my favourite digitised songs. I can make that playlist as long as I like. And so you could say that whether the artist chooses to release a single, an album or EP is really irrelevant - as a fan I can choose to cherry pick my favourite tracks from my nearest download etailer anyway.

I got to thinking, I don't HAVE to release an album. In fact, if I opt to go for something closer to an EP, I can actually do releases more often. So... from now on I'm going to be talking about my upcoming EP 1 in a series of 3, although let's hope I can come up with a more interesting title than that. And I will probably make the plastic version as well as the digital doodad.

I know there are the purists out there who still like to hold those shiny disks in their hands...but just think of all that exercise, getting off your bottoms and (hopefully) pressing the repeat button on my new EP!

Time to Pop the Cherry

Hi there,

I find it pretty intimidating playing brand new songs to someone for the first time. It’s one week until my first original gig of the year – where I’ve committed to perform some brand new songs destined for Album no 3...

It was a bit easier for me in the past when I mostly co-wrote songs. Like a trouble shared is a trouble halved, so the blame for a dodgy verse structure or naff lyric is not entirely your fault when more than one person has authored a song. This time, as part of the whole ‘do something that scares you’ routine, I’ve decide to write the whole bloody album by myself. The audience at Lizotte’s next week won’t hear entirely virginal songs, however – they will have been heard first, of course, by my fabulous accompanist.

I thought I’d try to make his job easier by recording rough demos of the songs I’ve written so far. A bit of midi drums and even a bass line, to give him the vibe man.  After his first listen (while I watched my knuckles turn white in another room), he said he didn’t ‘quite get’ one of the new tunes. But that one is supposed to be my Goldfrapp-esque dancefloor hit! He said it sounded like monkeys had played the drums in the opening. Things took a turn for the even worse when he started talking about my show tune. SHOW TUNE!? Oh you mean the sultry tear-jerking blues number? Oh dear. Things thankfully did improve when the songs were stripped back to the vocals and chords and his arranging skills were added on top.  Percussion-loving simians have now been banished and Minnelli-like melodrama has melted away.

Note to self: do not under any circumstances attempt to be a music producer. Don’t give up your night job!

What Do You Hate Not Doing?

What do you hate not doing?

I love this question. It seems easier to talk about what you love doing, but for me, it's the things in life you can't do without that really matter. I've had a helluva year and while things seem to be on the up now, I've never thought more about the things I would miss if I weren't around anymore! I saw this blog from Derek Sivers (founder of CDBaby and all round smart bloke). I've also just finished reading his fabulous book 'Anything You Want'. 

Things I hate not doing? Definitely in order: 1.Being with my family and friends. 2.Writing music and singing. 3.Eating. I love lots of other stuff but they're the only ones that really matter. Here's Derek's blog, below (from http://sivers.org/blog).

'We've all asked ourselves, “What do I really love?” or “What makes me happy?”

I've wrestled when the emotion-based answers conflict with expectations. (I'm a musician, but I love working alone. Does that mean I should be a producer instead of performer? I'm an entrepreneur but I hate doing business deals. Does that mean I'm more of a CTO than CEO?)

Last week I thought of it a different way, that I like better:

What do you hate NOT doing?

(What makes you feel icky, irritated, annoyed or off-track if you don't do it enough?)

I hate not programming.

Programming, to me, is the ultimate purposeful creativity. I have so many ideas in my head of websites that would make the world a better place if they existed, services that could help people. It's just a matter of taking a thousand hours to type it all out and turn ideas into reality. Any week not programming is a disappoinment to myself and maybe to others.

I hate not writing.

There are so many things I've learned that I think would help other people to know. Things I wish someone had told me sooner. Things that have made my life better, brighter, or wiser. I want to tell everyone these things before I die, in a well-explained way so they're not misunderstood, and easy to pass on to others. And more new ones are added every week. So I have to keep writing to get them all out. Any day I'm not writing, I'm falling further behind in this goal, which I makes me feel worse.

I hate not biking.

I love the adrenaline rush of riding my bike. I love knowing it's good for my health, and making my legs and cardiovascular system stronger so I can bike across India soon. I love it so much that when I don't do it for even a few days, I get annoyed. When I see other people biking, and I'm not biking, I get jealous.

I hate not talking with friends.

I'm in my own head so much, that I love hearing what my friends are thinking about instead. I love how my friends think. I care about them and feel icky when too disconnected from them for too long.

Asking the double-negative seems to be a better indicator of what I really love doing, than asking it in the positive.

Anyway - I'm probably overlooking some of my own, but now I'm more curious to hear yours.

What do you hate NOT doing?'

Before You Die, You Gotta Play This Gig

Hi there,
Reverbnation just published the results of a survey on the venues where most artists want to perform. Top of the heap in New York? Madison Square Garden. Number one in LA? Whiskey a Go Go. Top dog in London? Wembley Stadium. No surprises there.

That would be that place in Sydney? It's not necessarily the biggest venue that holds the most appeal for everyone. For me, it was always The Basement - Sydney's iconic Circular Quay venue. It's dark but classy. It's the kind of place you could turn up and always know you'll see really good live music. Audiences know that and so artists on that stage always seem to be treated with respect. If Prince is coming to town with his stadium tour, he'll make sure he has time for a secret gig at The Basement. 

I have seen countless gigs at The Basement and I had always dreamed of playing there myself one day. I remember one night, quite a few years ago hanging out after watching a show there. Another singer girlfriend and I knew some of the guys in the band so we stayed on with them playing pool, after the rest of the audience had gone home.  

After quite a few drinks, my friend and I decided to explore. We snuck away from the rest of the group with a cigarette lighter showing our path through the now darkened stage area. With mischievous grins to each other (because I wasn't the only one who had always wanted to be on that stage) we opened the door to the backstage area. We marvelled at this cavern of gig posters and outrageous graffiti. After a few excited moments in the artists' den we decide that since we'd gone this far...we spotted the hole in the wall that led to the actual stage and giggling like schoolgirls, rushed each other to go through to the other side. When we got there we paused for a few moments in revered silence then jumped up and down (I believe there was some tap dancing and other Young Talent Time-style choreography) with absolute glee. We had been on the Basement stage!!
The Basement may well always be at the top of my heap. By the way, yes I did get to legitimately perform there - in fact I'm lucky enough to do so regularly, and on each occasion I still relive a bit of the thrill of that very first time.

I'm a Which? I'm a Singer, I'm a Writer, I'm an 'Other'?

Aka 'Cover Bands Suck'


When I was a little girl I wanted to be a singer. I was persuaded pretty early on that singing should be considered as just a hobby, so it wasn't until my early 20s that I grew a backbone and did something about it. At that stage all I cared about was getting up in front of people and actually singing - and ideally having them like it. I was hugely envious of the duo at a local restaurant - they were actually getting paid to sing in front of people. I left my upwardly spiralling career in Public Relations. Microsoft Australia was my main client and they couldn't believe I'd leave them for the uncertain world of music. After a few months of said uncertainty (and Dad asking on a weekly basis 'Have you got a 'gig' yet?') I found myself in regular singing work and actually getting paid for it! Now have you ever noticed how your heart's desire, once realised, becomes simply a stepping stone to the next, even greater desire? So now the aim was to write, perform and record my own songs, be not just a singer, but a...wait for it - artist! Artiste? 


I did get to achieve my new heart's desire, still doing it, but I still 'just sing' too. I've talked about it before, but there's an amazing snobbery around singing covers, ie other people's songs. We definitely need to support new, original art whether it be music, theatre, literature etc, otherwise culture becomes stagnant. But I think there is a place for performance of all types. Even if that involves my third rendition of 'I Will Survive' this week thank you very much. 


I remember earlier on in my career being introduced to another singer-songwriter at a party. We naturally talked about our music and then he asked 'What do you do for a living?' because it is a rare person indeed who can make a decent living from their own music. I said proudly 'I'm a singer.' Suddenly I had a communicable disease going by my companion's reaction. He waxed lyrical about selling out, selling soul, selling just about everything - this is what I was charged with because I sang other people's songs? This was the first (of many) times I had come across this reaction and I wondered how he made his honourable, principled crust. 'I paint houses,' he said. Oh.


Of course, I've experienced the other side too. There have been more occasions than I'd like to count where I've been pouring my heart and soul into the performance of one of my self-penned tunes only to be interrupted by 'Do ya know 'Eye of the Tiger'?' from an enthusiastic audience member.


Anyway, I came across an interesting blog by Artist Manager (among other things) Corie Anziano on covers vs originals and there was quite a bit of heated commentary too. 


By the way, on that 'supporting original music' topic, I'm performing some brand new tunes at Lizotte's in Dee Why on Wednesday November 9 and El Rocco Jazz Cellar on Friday November 18...both fabulous Sydney venues - would sure be great to see you there!
Cheers,
Amanda