chance you’ll be eaten up and spit out by the industry before you even realize what hap- pened. Michael Jackson’s manager Frank Dileo once said he could make anybody a star. The real challenge was to keep them there. When I speak about branding in my seminar it’s with a big focus on creativity and quality. To me, that’s important. To a record company, there’s a good chance you’ll lose your voice and choices and be placed into the closest mold they think will sell. If red jelly beans are selling, that’s what you’ll be. Sheryl Crow was headed that way, along the Paula Abdul path until she pulled the breaks. Obviously opting for authenticity and a slower path worked out for her.
How Important Is The Audition Process Or A Promo Package To A Career?
As far as auditions, you need to know
how to be calm (which can be dealt with via visualization) and bring the goods, i.e. put in the work and then let go of the result. If you do the work and do your best then you win whether they pick you or not. In the 80’s more people were chosen for looks than skill so some of those decisions are just out of your hands. For myself, I took 3 or so days off when I had the chance to audi- tion for MJ so I could focus on the music and nail it as well as I could. For Jeff Beck, I forced an audition on myself. He was going on the strength of my CD’s and was good to go, but I booked myself to his house to play the entire Guitar Shop record for him and got a guitar synth to cover past keyboard parts. It just showed him I’d do the work. Give the leader a reason to believe in you; CD’s and demos only get you in the door to possibility; live is another beast altogether. As for a promo package, I think you need it because it makes you look like you have your stuff together. I know amazing players that don’t have anything together: web site, promo kit, CD, or even a Face- book page. They have to rely on word of mouth for work and it’s limiting. For my PPK (
powerpresskit.com), I put together a comp of my last CD rather than expecting anyone to listen to whole songs. The aver- age attention span these days is 7 seconds. It’s hard to wrap your head around but people need to be wowed immediately. I’ve seen Beck listen to CD’s and not last more than 10 bars. If there’s nothing fresh there,
TEMPO
he’s done. It’s also a bit of a statement as to who you are and how you want to present yourself to the public, from music to photos to videos. The text really needs to be looked at as well, a page full of misspellings and bad grammar kind of makes you look like a dumb***; with so many random smart phone videos out there, taking control with- in a website, Youtube channel or press kit is the only control you have over what people see of you.
You Worked With Some Legendary Musicians In The Industry, Tell Us About The “Work Ethic” Of Band Leaders And Producers With Whom You Have Worked.
MJ was the best. He was like the Ener-
gizer Bunny and had limitless energy dur- ing “BAD” tour rehearsals. He expected the same from all of us and the end product showed it. It was a tight show we put enor- mous hours into. To date it was the most intense rehearsals I’ve ever done. I think the best video of that time was the one released a couple years back of “BAD 25.” MJ was at his peak then. Jeff Beck also rehearses a lot, especially with a new band, but it’s a differ- ent animal altogether when it’s a show based on improv. I always wanted another week of rehearsal with him, in part to get more rep- etitions in with choosing patches between guitar and synth. I had some pretty intense footwork. His rehearsals were more relaxed than MJ’s though. In part because it was such a smaller show. There were just the 4 of us on stage. No dancers, singers, or special effects. As far as producers, Michael Sem- bello was the only one I’ve worked with to any great extent. I disagreed with 90% of his decisions and think the best thing he did for me was to teach me about the auto punch (ed., a recording process that involves pre- defined start and stop points), I’ve been on my own ever since. A producer can upgrade your product for sure, especially if there’s a band involved that can’t agree on anything. The producer can take the pressure off of everyone by making final decisions.
You Have Been On The Cover Of The Most Important Guitar Magazine
(“Guitar Player”). When Something As Monumental As That Happens In Your Life, What Is The Immediate Impact Felt? Any Specific Incidents?
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I actually tried to get them to wait un- til my debut CD was done, but they didn’t. They were taking advantage of the heat from just having finished the “BAD Tour.” It was a mental adjustment for me since I had been a reader for a long time. I’d fanta- sized being in it but to be launched to the cover was a test of any insecurities residing in me. I was proud but I knew it would tick off other guitar players I’d been hanging around, and it did. Jealousy is a whole other thing to get used to and you find out who your true friends are. It happened after the tour was over though, so I at least had be- ing in that band for 1 ½ years and loads of interviews previous to the Guitar Player one to get used to being at a different level.
Many High Profile Musicians Often
Neglect Their Healthy Lifestyles Due To Pressure, Tight Scheduling, What Are
Some “Quick Remedies” That Serve You In A Pinch When You Are Under The Gun?
I can’t say it’s easy by any stretch, but
you need to make your dietary needs known when you’re touring which may mean to at least learn a little of the language of the country you’re in if needed. There are sim- ple apps for all of them. I often stay in a cer- tain Italian hotel. Typically they only serve espresso and a pile of gluten for breakfast. So I learned the word for eggs. I recently heard that Ella Fitzgerald blamed her diabe- tes on a career on the road. Food conscious- ness wasn’t anywhere near what it is now when she was touring as a young woman, but it’s all about choices these days com-
MARCH 2016
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