Since I’m in a signed band people always ask me how a group gets a record deal. Here’s the secret: there is no secret. There’s only this: 1) form a band, 2) write some good songs, 3) rehearse ’em (a lot), 4) make a demo, 5) go on tour. From my experience, the only way a major label is going to notice your band is if people come and see you play. Let me give you another piece of advice, too-don’t bother wasting time and money submitting your tapes to record labels.
A lot of songwriters just don’t seem to understand that record company people hardly ever listen to tapes. They’re usually very busy working with the acts they’ve already signed. The only folks who listen to tapes are people who work in the A&R (Artist and Repertoire) department (this is the department that signs and works directly with bands), and even they are usually too busy to do this because they go out every night of the week to see groups play live. So, if your aim is to get signed, there’s really nothing else to do besides practicing, playing and working on your live performance. Also, watch out for those organizations that run “Get a Deal” ads in music papers and magazines You know, the ones that promise they’ll get your tape listened to by A&R people at big labels-providing you pay them a bunch of money, of course. Yeah, right. Stay away from anybody who wants you to give them money up front!
So, if making a demo won’t magically get you a recording contract, why bother with the time and expense of recording one? And, why did I put “make a demo” in my opening list of “things you have to do to get a deal?” In my opinion, there are several reasons why you should make your own tape: 1) To have something to submit to club owners and booking agents so you can actually get out there and start doing some shows. I can’t emphasize enough that getting gigs is the main function of a demo. 2) Having a well-packaged tape is a cool thing to sell at shows. It’s a way for people to take your music home with them. If someone sees your band, likes what he or she hears and decides to spend a few bucks on your tape, then the chances are pretty good that he will play it for a few friends. Hopefully, they’ll like it enough to come to your next show in the area. 3) Lots of college and local radio stations have “local talent shows” on which they play demos. You can’t ask for better exposure than having your songs played on the radio.
Here are a few helpful pointers that will help you get the most mileage out of your demo. First, take the time to make your own insert for the cassette case-it doesn’t cost much, and in this business, first impressions are really important. Second, when you write a letter to a club owner or radio station, make sure that you use a typewriter-don’t scrawl! Sometimes I see demo tapes and I’m amazed at the haphazard way people throw them together. Finally, be sure to put your phone number on the cassette itself, not just the cover. If club owners want to book your band, they’ll know how to get in touch with you right away without having to search for the box the tape came in. Okay, enough business for today. Let’s do some playing!
Last month, we talked about notes “rubbing” against each other-a dissonant effect I call “skronking.” This time out we’re gonna look at a few more skronks from Astro Creep 2000….The first one, FIGURE 1, is the opening to “Grease Paint and Monkey Brains.” The skronk factor here comes at the second and fourth beats of each bar, where I hit fretted notes high up the neck on the G and B strings and the open high E string at the same time (with an upstroke of my pick), and then let all three strings ring while I slowly bend the G-string note up to the same pitch of the note on the B string [unison bend-GW Ed.] I do this sort of thing quite a bit in White Zombie.
FIGURE 2 and FIGURE 3 are both from “Electric Head Pt. 2 (The Ecstasy)” [Astro Creep 2000….Figure 2 occurs in every other bar of the chorus, and the skronking is caused by the F and E notes on the low E string “rubbing against” the ringing F# note on the D string. Figure 3 comes from the breakdown section in the middle of the song and involves the same exact skronk vibe, except this time it’s the G and the G# notes on the A string ringing against the F# note on the G string.
For a primal skronk lesson, be sure to check out the first, self-titled, Killing Joke album! C-YA
