I was given my first album at age 5, a disc by the band The Four Seasons. They were a cheesy vocal pop band that competed with the Beach Boys at the top of the charts in the early sixties. (you’ll notice that they don’t appear on the list later in this blog) From that moment I was hooked. I have been collecting and, more importantly, listening to music compulsively. I don’t watch TV. I don’t follow sports (I do enjoy baseball as a live spectator sport) Now why, you may ask, do you give a damn about this little personal biography?
It’s simple really. For the past 48 years I have been listening to music, mainly rock, and learning what counts, what is related to whom and what is truly worth listening to. If you are in a band then listening to other bands is the most important thing you can do. It’s research. It’s what influences your thinking and what shapes your music.
If you are a young musician then most likely you are obsessed with one or two bands or at best obsessed with a particular rock movement like Nordic speed death metal with superhero themed concept albums. This is natural when you are young. You are developing your sense of aesthetics. (feel free to look that word up, I did) You may also be convinced that French guitar pop or Early 80’s straight edge hardcore or Electronica or Zydeco or Polka blues is the most important music in the universe. You are wrong. It is very important to you and it has its place in the great pastiche of rock but it is not the only form of rock that is important.
The most common mistake bands make (other than not firing the drummer)is they are too focused on the one or two bands that they love. As a result they end up sounding just like the bands that they admire (or worship) and end up making music that is a pale imitation of another band.
I have listened to thousands of demos in the past thirty years. Really great bands are rare. Really bad bands are equally rare and often can be highly entertaining because they are so awesomely bad (The Shags for example) the vast majority are OK, mediocre, uneventful and they are always derivative. This is the mistake that almost every band makes; they sound like another, successful band. They fail to do anything new, to do anything risky, and to do anything that makes them truly special. Why listen to a band that sounds like the Black Keys? Why not just listen to the Black Keys?
That brings us to the subject of this blog and likely a few more to follow – What bands really count? What bands are great? And I mean undeniably great. I intend to list a shitload of bands in an effort to outline a good basic knowledge of rock and roll. As you read through the list you will likely say to yourself, ‘hell, I know all these guys. There is nothing new here’. That may be so. I doubt it but assuming you do know all of these bands are there any on the list that you haven’t heard? If it’s on the list and you haven’t heard it then you should check it out then wonder ‘what other cool bands are out there?’.
I am also posting this list to spur people to comment. Please suggest additions to the list. Feel free to criticize my choices and to justify your suggestions. I know that I have ignored large sections of rock history. This is a result of putting together a quick list. Feel free to post bands the comments section.
I will be posting some lists from other people soon. I am certain that the following lists will highlight some of the holes in my first list.
Finally I’ll close with a rock anecdote. When Columbia records acquired The Clash for the American reissue of the first Clash record and for all the follow up records someone at the label’s PR department came up with the slogan “The Only Band that Matters!” In one of those truly rare moments in history the record label had it right. In many ways The Clash were the most important Punk band and Punk was the most important change to come along in a decade. Over the intervening years it became apparent that The Clash summed up and perfected all of the elements that made Punk important. You may disagree with this opinion or you may agree. If you never had bothered to listen to the Clash’s five main albums could you really claim to have an understanding of Punk and be certain that your Punk band is really something fresh and new, something great with a capital G?
[for the sake of brevity I have only included bands and artists from the first 4 decades of rock, that is to say 1950 to 1990]
Classification(s) B-blues, J-Jazz, P-Punk, PR-Prog Rock, CR – Classic Rock, F-Jazz/Rock Fusion, H- Hardcore, I-Influential, S- Soul, A- Alternative Rock, N- New Wave, O – Folk, SY-Psychedelic Rock, C-Country, Reggae –R, Metal – M, Glam Rock -G
The only bands that matter Part 1
The Clash – P, The Sex Pistols – P, The Buzzcocks – P, The Damned – P, The Germs -H, The Dead Kennedys – H, Mission of Burma – A, The Modern Lovers – I & A, Velvet Underground –I & A, The Beatles – CR, John Lennon – CR, Paul McCartney -CR, George Harrison – CR, Big Star I & CR & S, The Small Faces -CR, The Faces -CR, David Bowie -G, Robert Johnson – B, The Kinks CR, Jimi Hendrix –CR, Creedence Clearwater Revival –CR, Velvet Underground-I, The Soft Boys- I, The Pogues – P, The Band – CR, XTC- N, Nick Drake – O, Tim Buckley – O, Fairport Convention – O, Sandy Denny –O, Richard Thompson –O, Traffic –CR, The Byrds –CR, The Ramones –P, The New York Dolls – I, Yes – PR, King Crimson – PR, Frank Zappa –PR, Captain Beefheart – I, The Talking Heads – N The Creation – SY, Love-SY, Scott Walker –SY, The Pixies –I & A, Genesis –PR, Leon Russell -CR, Cream –CR, Derek and The Dominoes – CR, Hank Williams –C, Johnny Cash – C, The Dictators – P Tommy Roe –CR, Jimmy Webb –CR, Joni Mitchell –CR, Janis Joplin CR-, Lou Reed –I, Jethro Tull –CR, Echo and the Bunnymen –N, Bebop Deluxe – N, War – S, Sam and Dave –S, Otis Redding – S, James Brown –S, Gang of Four –N, The Smiths –N, Curtis Mayfield – S, Booker T and MGs – S, Ray Charles –S, Blind Lemon Jefferson – B, Bob Marley and the Wailers –R, Peter Tosh – R, Jimmy Cliff –R , Bob Dylan –CR, Led Zeppelin –CR & B, Van Morrison – CR & S, Temptations –S, Ike and Tina Turner –S, Peter Gabriel –N, The Who –CR, The Rolling Stones – CR, The Dead Boys – P, REM – A, Flamin’ Groovies – I, Thelonius Monk – J, John Coltrane – J, Charlie Parker –J. Count Basie – J, Chet Baker – J, Santana –CR, The Feelies – A, John Cale – I & A, The Replacements – I & A, Deep Purple – I & CR, Little Feat – CR, Grateful Dead –CR, Metallica – M, T Rex – G, U2 – N, Elvis PResley – CR, Buddy Holly – CR, Beach Boys – CR
©Brad Morrison/Billiken Media 2010
The last section covered how a recording deal is structured. Please read it before reading this blog. If you don’t I guarantee that you’ll be confused.
As I mentioned in the last blog the deal is structured as a series of options. These lock the band into a consecutive series of time periods when they are bound to the label and are working on creating a set of recordings that meet their obligations laid out in their contract. I realize that sentence is pretty complex and may not make much sense without a great deal of head scratching. Let me put it another way.
A recording contract says that the band can only record for the label and no one else. This is absolute and final. There is no scenario where the label will allow the band to record tracks without the label being in absolute control of those masters. I have run into these kind of conflicts while managing bands. For example the band Miracle Legion was on tour with the Icelandic band The Sugarcubes. As is natural on a tour the bands became good friends. Soon they started to join each other on stage. The logical next step? I get a call saying that they would like to record together.
I immediately knew the problems that would come once the labels got wind of this plan. Miracle Legion was signed to Rough Trade at this time and that label, perhaps the only one in existence at the time that would allow it, I knew would work out a compromise. The Sugarcubes on the other hand, were signed to Electra. Electra, like all majors, had no capacity to compromise.
As soon as the bands brought it up I booked the time and rearranged the tour to free up a recording block. I then set about doing my best to cover up what we were doing. I started some false rumors. “Miracle Legion was leaving the tour” “There was tension based upon who was sleeping with whom” etc. All the rumors were untrue of course, but I tried to make them as plausible as possible knowing that any potentially harmful rumor would grab the label’s attention. If they were concerned about who Bjork was sleeping with they might not spend the time to notice exactly why a hole had appeared in the band’s schedule and it conveniently left both bands in New York for three days. I knew that the key was to get the bands into the studio and get the tracks cut before the label could stop them. That’s exactly what we did.
The end result was 4 wonderful songs and years of war with electra. We put the tracks out under Rough Trade and said “Sue us”. So they did. At least the fans got to hear it. The point to this little tale is that once you sign with a label they own you. What I did with the Sugarcubes was basically unheard of… no one signs with a major and then records without their approval.( well Hendrix did and Miles Davis, and a few others…) They never, ever, ever give their approval unless it is their idea.
So if you sign with a label you are their possession, their slave. If this doesn’t sit well with you then DON’T SIGN WITH A MAJOR LABEL! I am sure some of you are imagining that your stubborn son of a bitch personality will allow you to manipulate them into allowing whatever you want. This is extremely naive. They have enslaved bigger egos than yours, bet on it.
So now lets look at the second half of a recording contract the section that covers royalties and payments. This is the heart of the agreement and this is the section where the band gets screwed. Yes the first section that controls everything you do is bad but the second section where the deal outlines how the band is paid is the part that really guts the band and controls them.
The way that royalties are paid and accounted for is based upon the way records were sold long, long ago. As a result the language used and the system used can be confusing. The first thing to understand is that everything is based upon MSRP. Manufacture’s Suggested Retail Price. This is a price, agreed by the major labels and representatives of retail music chains. It is a fictional price that is somewhere near the real average price that CDs sell for on a daily basis. I have been in the business for twenty-five years and I am unsure exactly how they decide this number. I expect that I could find out more about the process but I just don’t care to. The only thing that matters is knowing what the number is. For the balance of this blog let’s just assume that the MSRP is currently $14.98. I have no idea if this is current but it doesn’t matter. The number is a basis for calculating what a band is paid.
A typical contract my say that the band will be paid 12% of MSRP. This works out to $1.80. So it appears that for each CD sold the band, the artist, you will be paid $1.80. Sounds great doesn’t it. So you sell a 100,000 CDs and get paid $180,000. Fantastic. Well it would be. It’s just that the balance of the of the language in the contract takes this simple formula and starts to alter it. So what is the real formula? Well it goes something like this……. The first thing they take off is called a “packaging deduction”. This is a fictional discount that the artist pays for to “package the CD”. ???? What the hell does that mean? Well, quite simply they are charging you for putting the CD in a jewel case and putting a booklet in the case. The standard seems to be 25% currently. So now we add this to the formula and it looks like this $14.98 x 75% =$11.24 $11.24 x 12% royalty = $1.35. So that little trick cost you $.50 of your royalty.
So now you sell those 100,000 CDs and you get paid $135,000 right? No, not so fast. It seems that the sales figures and not just a simple count of CDs sold. The first 50,000 CDs get half the normal royalty rate….What???!!! what the fuck???!! Oh yeah, don’t worry about that you’re gonna sell millions right?
So let’s look at the formula again….100,000 sales now pays $106,000. Ok still seems like you can get by on this kind of money. BUt that, of course, is not what the band is paid. The band paid the producer, 40,000 and the studio 90,000 so that money is still owed. Yes, that’s right, the fees for production and recording come out of the band’s share. Doesn’t sound fair does it? (Let’s not get all trapped in the whole “fair” thing…it’s just too complex) This little fact looks even more outrageous when you consider that the band pays for the recording sessions and producer, engineers etc but the label owns the recording. In fact even though the band is paying the producer the producer answers directly to the label. Any band that thinks otherwise will learn a quick lesson. It might be workable if this is where the band’s debts ended but, of course, it doesn’t. The band also pays for promotions costs. Yup, that’s the costs that the label incurs to promote the record. The band pays for radio bribes. The band pays for print advertising. The band pays for the generation of artwork. Let’s just cut to the chase—- the band pays FOR EVERYTHING THAT HAS TO DO WITH THE ALBUM!!!. Yes that’s correct. I didn’t just make it up.
So the A & R guy flies out from LA to visit the studio while the band is cutting tracks. He stays a few days a goes back to tell the label how brilliant the band’s new tracks are….. and sure enough 18 months later the costs of the flight, the hotel he stayed out, the car he rented (and boy was it a nice one), the meals he ate and yes, that nice meal he treated the band to… they are all deducted from the band’s cut.
Here’s another possibility. The record starts to get some college airplay in the Northwest on a half-dozen college stations. The head of College promotions jumps right on this trend. He jets out to Seattle, rents a car, gets a pocketful of cash and starts to make the rounds of the radio stations. he hires as many of the music directors and program directors for these radio stations. He pays them to put up flyers for the band on campus and more importantly on other campuses and to talk to other DJs and staff at other college stations about how they too could have this cool, lucrative job putting up flyers. As a result the band’s record climbs from 36 on the Northwest college charts to #11. This whole little exercise costs $43,000 over the course of two months. two years later the band discovers they must pay back $43,000 before they earn any money.
Here’s another angle. The band hears about the scheme to promote the record in the Northwest and says “hey we got a better idea. Why don’t we play in Seattle and Tacoma and Portland and Vancouver!!” So you rent a bus and gear and travel around and play all these towns and your record goes from #36 on the college charts to #1 on the college charts. The label, orgasmic over this cosmic stroke of luck decides to celebrate. They fly a third of the staff out to Seattle for a rocking celebratory show. Here it comes… you guessed it kiddies…two years later the band discovers that their tour support, the chartered plane, the hotels, the bribes they still insisted on handing out to DJs etc. are all being paid back out of the bands cut of the royalties. It all comes to a whopping $211,000. Are you starting to see the picture here?
Let me be extremely clear about this blog and this particular topic. IF A BAND SIGNS A MAJOR LABEL CONTRACT EVERY SINGLE DIME SPENT TOWARDS MAKING THE RECORD OR PROMOTING THE RECORD OR PAYING ANYONE COMES OUT OF THE BAND’S CUT!!! As a result, unless you become Bruce Springsteen you will make nothing from recording for a major label. There is only one exception to this rule. Whoever writes the songs and controls the publishing of the songs on the record may very well make some money. Since the law demands that labels pay for the use of the songs the songwriter is the only one that gets paid consistently when a record sells.
Well that’s enough for the moment. I realize that I haven’t been posting lately so I am now back in the swing of it……….
©Brad Morrison/ Billiken Media 2010
In the late eighties I signed a band to my record label.This band, the Vestrymen, were a jangly guitar pop band from Amherst Massachusetts. Now I have quite a few insane stories about this band including but not limited to How they came to give me autographed photo of the band members naked whilst tripping in the woods, How the drummer tried to kill me over a misrouted tape of loop of Ingrid Bergman and last but greatest the story of the greatest rock prank of all time the story of John-O! Tonight’s story has nothing to do with any of the sordid tales instead it concerns something that The Vestrymen discovered in a paper in Providence Rhode Island while on tour. Like any bored musician on the road they were scanning the musicians wanted section of the paper and ran across an ad.
The Vestrymen had a gargantuan appetite for drugs. Bless them they were stoned rock n roll stars. Imagine that! As a result, like all rural stoners they lived in a semi secluded ranch house in the Berkshires. (that’s part of Massachusetts that doesn’t appear on any maps of America. At least any maps of America that outline the places in America where Americans have jobs, work and suffer from common sense) This ranch house developed a legendary status as a crash pad, party house with the usual mix of midget luggage and imaginary teen runaways. Oh wait a minute. Sorry, I suddenly drifted into the story of John -O. Damn.
This ranch house, nick named the Ruby Ranch, was a standard rock crash pad party house. The refrigerator in the Ruby Ranch was covered by a mix of tour memorabilia and in the midst of this chaos was THE classified ad. What follows is a word for word transcription of the ad. I’ve included a scan of the ad at the end of the blog but it’s difficult to read, hence the transcription. Now as you read this keep in mind that the writer was PAYING BY THE WORD. A typical ad like this in the eighties might have cost $20.00 for the first twenty words and then .25 per word thereafter. Since the Ad has 888 words this puts the printing charge around $235! This man had a dream and he was going to back it up with his wallet. I recently wrote to one of the band members asking for him to dig up this gem of rock madness. It stands as definitive proof what ten thousand spins of “Houses of the Holy” will do to a young, impressionable mind……………..
Do you sometimes stay up late at night and dream that you are a member of the greatest rock and roll band of all time? I do, and I want to make that dream come true. I am 21 years old and want to be the lead vocalist. I have no experience, but I am extremely ambitious and intelligent. Ninety percent of my music spectrum includes the following bands. Heavy on Led Zeppelin and the Doors, while I am also into the Beatles, Jimi Hendrix, the Moody Blues, U2, Sting, Pink Floyd, the Monkees and the Rolling Stones. To put this band together I need a lead guitarist, a bassist, a drummer a keyboardist and someone who can play the synthesizer. You must be able to unleash the raw power on your instrument that it would take to form a magical, mystical, eternal, everlasting sound that will rock an entire planet. How good can we be? Put it this way, there are 5 billion people in the world. Now imagine a kickass construction crew has just built a stadium that when full to capacity will hold 5 billion people. In every city and every town the word is being passed around the greatest band in the Universe is playing there. The stadium sells out and everybody has the time of their lives. I am into freedom, liberty, peace, nuclear and conventional disarmament, a central world economy, one world language (English) and for everybody in humanity through the power of music to be mutually happy and satisfied. I follow the teachings of Jesus Christ, Martin Luther King, Confucius, Mahatma Gandhi, Plato, Aristotle, Socretes, Goethe, Sartre, Camus, Rimbaud,Nietzsche,Buddha, Mohammed and many people in the bible. I am not a deeply religious person but I have read the Bible from Genesis to Revelations at least 15 times. Some of the group songwriting we should do should come from experiences in the Bible. I really want to get to know you people very well, therefore we should get together and find a house to rent with a large basement so we can jam there. I am very intense when it comes to practicing. I believe we should practice at least eight hours a day, seven days a week. I have a complex yet simple ideology on life. I believe people should move to a world democracy, collaborate, consolidate and over-all contribute 100 percent to humanity as one society without war or conflict. The U.S.A. and her allies have about 10,000 megatons of atomic weapons, and the Soviet Union and her allies have 10,000 megatons of atomic weapons. There are about 1,000 20 megaton nuclear bombs between the superpowers. The are also about 50,000 smaller nuclear warheads in the world. A 20 megaton bomb within a radius of 15 miles turns everything into molten lava; at 30 miles people are set on fire and burnt to a crisp, at a 100 miles people are permanently blinded. Nuclear strike zones in Rhode island are Newport, Quonset Point and Providence. This will never happen, but I don’t like living under the threat of total destruction.Through the powers of the United Nations and the recent signing of the INF treaty and the successful summits between the USA and Russia, relations are at an all time high. Disarmament and development are two of the most urgent challenges facing the world today. They constitute priority concerns of the international community in which all nations developed and developing, big and small, nuclear and non-nuclear have a common and equal stake. Disarmament and development are two pillars on which enduring international peace and security can be built. The arms race is absorbing far too great a proportion of the world’s human, financial and natural and technological resources placing a heavy burden on the economies of all countries and affecting the international flow of trade, finance and technology in addition to hindering the process of confidence building among nations. Thus, there is a commonality of interests in seeking security at lower levels and finding ways of reducing these expenditures. I smoke marijuana and hashish to explore the deepest realms of the human condition.I believe time has no beginning and no end, life and the joy of living are infinite. I am a vegetarian and take vitamins for good health. I meditate to find inner tranquility. I would like to rent out this house on the east side of Providence and eventually move to New York. The house must have a huge basement that we can jam in. I must stress the intensity that I am looking for in you people. The lead guitarist must have the sheer power of Jimi Hendrix. The Bassist like John Paul Johns. The drummer like Ringo Starr. The keyboardist like Ray Manzarek. And the synthesizer player must play like the almighty God. I don’t want to do any covers. I just want to write songs and be as totally original as possible. It is extremely important that each band member can powerfully sing in harmony on backup vocals. Together we can put together the greatest goddamn fucking band of all time! This ad has appeared in Providence, Boston, New York, Chicago, Detroit, Dallas, Cleveland, Philadelphia, Houston, Miami,Memphis, New Orleans, Tampa, Orlando, Los Angeles, Phoenix, San Diego, Buffalo, Rome London, Dublin, Paris, Moscow and Peking.
It’s interesting to note that he fails to give any clue as to how to contact him. A slight oversight on his part. I believe he is still waiting to for the kick ass construction crew. How can you fail to admire this guy’s ambition?
Copyright Brad Morrison/Billiken Media 2010
I received a few questions and even one or two demands on the topic of radio. It seems everyone would like to be on the radio. Why would you want to be on the radio? I don’t get it. Only kidding. I get it. I also know that what most of you are talking about is commercial radio. For the time being you can forget it. It is impossible to get on the radio until you are large, established act. Not only do you need to be an act playing large theaters or greater you also have to fit into the “ya kinda sound like everything else” category to have a shot at being on radio. It’s sad. It’s also not the end of the conversation.
American pop and rock radio is rotting on the vine. Playlists for commercial stations are dominated by acts that are largely ten to fifteen years past their date of expiration or are one of the eight to twelve major label acts that have broken through. The explanation for this is all commercial radio is controlled by bribes that are controlled by consultants that are funded by the three major music groups.
The last time that commercial radio programmers had any idea where they were going and had a reason to be playing what they were playing was 1995. ( I almost typed 1955 and that might have made more sense). Radio is going through hell behind the scenes. It is under attack from web radio and college radio and I tunes and guitar hero and satellite radio and god knows what else. In short it is doomed. It will survive but radio will be changing soon or it won’t exist.
For a young band or even a regional touring band the possibility of being on commercial radio is an impossibility. It doesn’t matter. Instead new bands need to understand the use and performance (as in one of your songs getting played on some kind of channel) of their recordings through the prism of the new value of digital media. (fancy sentence huh?! I’m tryin to pat myself on the back) Let me put that a different way. Recorded music is not worth what it was worth twenty years ago. Recorded music is now like a business card. On the whole you should GIVE YOUR RECORDINGS AWAY. Offer a single as a free download, attach the single to an email advertising a show. Music has been moving in this direction for a long time.
[In case anyone gets confused here let me state quite clearly that I think a band has every right to charge for music the band has recorded. I think anyone that then steals that music is a thief. It’s that simple. Now if the band decides to charge $22 per song as a download they are looking for trouble. The price of recorded music has dropped. The major labels and Apple hasn’t realized this yet but they will eventually get it]
Time for a story. In 1989 or 1990 (I think) I signed Phish to my label. Great band, great guys. They only had released their music as cheap cassettes with black and white covers. We set about planning a complete professional release for them. They had already recorded the album, Lawn Boy. We pulled a track off of their cassette release, a song called fee which was kinda a hit, and added it to the album. We worked out really nice pro art work and hired a pain in the ass photographer with great talent to shoot the cover. Me and a kid called Jeff Raspe (he’s now a kinda famous DJ guy) put together a big huge mailing list of people that would receive free copies of the album. When we had done all of this I felt that there was something missing. This band was special and they really had a buzz going but I needed to get their name out quick all over the country. They were just starting to become popular with Deadheads.
I went to visit a friend who was a big deadhead. While listening to one of his live tapes it hit me. In those days (yes kiddies it was a long, long time ago) people traded cassette copies of live shows. This had started out as a Deadhead thing and had spread to every other act under the sun. The people that traded tapes were loosely organized. I asked my friend for a complete list of tape traders. The list was over 1200 names long.
Now the way it worked was you would send one of these guys a SASE (that’s an envelope with postage on it). They would stick a copy of their tape list in it and mail back to you. You would mail them a list of your live tapes. Then you would work out a trade or maybe ask nice for them to copy a few live shows for you. These people were deep into trading and would tape every show they attended, often against the band’s wishes.
(Robert Fripp of the band King Crimson once saw an ad from some kid saying he had live tapes of King Crimson to trade. Fripp showed up at the kid’s house, knocked on his door and then told the kid to go get all the tapes. When the kid returned with a box of tapes Fripp took them and stalked off without saying a word)
It’s important that you get the underlying message here. Music gets around in all kinds of ways. Each way is an opportunity if you know how to use it. So back to the Phish story.
I got a really good live show from the band playing to a sold out house at Nektars a hometown nightclub. I had twelve hundred copies of this tape made. I then paid a woman I knew to write notes that went something like this ” Hi Harold. It was great meeting you at the show. I know it’s been a long time and you thought I forgot but here’s a tape of that band I was talking about…” signed Judy. Now I knew that these traders went to tons of shows and would often receive multiple tapes in any given week. It would often take about three weeks for them to get around to listening to their incoming mail. I also knew that these people would go to shows that they weren’t really interested in in order to tape them if they thought the band would be valuable to trade with someone else.
After we mailed out all of these packages which were a primitive version of spam we waited. We did this about two months before the release of the record. Soon the show started to pop up on tape trader lists. Then like clockwork, other shows started to show up on lists as the traders went to Phish tour dates to flesh out their collection.
Now I knew that Phish didn’t have a prayer of getting on MTV or the radio so we had to take other routes to the top. When the album came out I went to a bunch of Dead shows and handed out promos (free copies) of the album to random people in the audience. Within four months the band’s buzz was ramping up nationwide……
Why did I tell this story in a blog about radio? Radio is changing. Find the new, alternative and experimental ways that music is being spread and work those systems SYSTEMATICALLY. If anyone tells you that bands get big by sheer luck that person doesn’t have a clue. When a band becomes big, someone is quietly working behind the scenes to make it happen…………..this is how you succeed at Rock………………
Copyright Brad Morrison/Billiken Media 2010