All four solo albums now on Amazon.com downloads

I’ve just seen that all four of my ‘proper’ release solo albums are now up on Amazon.com download store – here they are –

And Nothing But The Bass – $7.92
Not Dancing For Chicken – $8.99
Grace And Gratitude – $8.99
Behind Every Word – $8.99

that’s a pretty damn cheap way to get hold of them – and you can listen to all of them before buying over on last.fm.

The reason my stuff is now available on amazon is because it’s put there by CDbaby – if you sign up for digital distribution with then (a non-exclusive deal, BTW), they’ll ship your stuff to 50-odd digital stores. Most of them won’t sell a thing, cos they got no passing traffic, but because some of those stores include the iTunes stores worldwide, emusic, napster, amazon and a couple of others that actually shift stuff, it’s the best possible way for an indie kid like me to get his music out there. It’s cheap to set up (less than $40 per album), and they take a pretty small percentage. CDbaby are the ultimate indie long-tail company. lead the market, get everyone signed up, get a little bit of cash from tens of thousands of musicians, and make millions. We’re happy cos we get it cheap, they have leverage because they represent so many artists and labels, and everybody wins.

Seriously, if you’re indie, and you’re not with CDbaby, you’re missing out. Do it.

Solo bass night, last night…

Back at Darbucka for the first time this year, last night was my solo bass night gig with Yolanda Charles and Todd Johnson. It was a pretty special evening on a few different levels. Firstly, it was Yolanda’s first EVER completely solo gig – this is a bassist who has played to live audiences in their hundreds of thousands, and TV audiences of millions, who was SOOO nervous before she went on! She needn’t have been, as she was fantastic. Yo is without doubt one of the finest funk bassists I’ve ever seen. We’re talking Pino-with-D’Angelo level funk. Her feel is amazing, the basslines are slinky, and she’s got a really lovely voice. The entire room was rapt. Just marvellous.

Second reason it was special was that it was Todd’s first ever gig in Europe, let alone the UK… I’ve been fan of Todd’s playing for years, and his knowledge of jazz chording on the 6 string bass is pretty much second to none. His music is straight down the line jazz, but he does it so well, his gimmick is just being great at it.

I played between the two of them, and as usual for a Darbucka gig, it was fine, though I didn’t play particularly well – I’ve kind of resigned myself to the knowledge that if I’m organising, compering, loading in and setting up the gear and then playing, one of those things is going to suffer, and given that it’s the last one, it’s usually the playing. It’s not that I was shit, just that I wasn’t as on top of my game as I should be for a gig like that. I did one new improv piece, and was, as it were, hoist by my own petard… it was a couple of different ideas I’d been working on over the last few days, but it fairly quickly went in a different direction from where I thought it was going, and unlike on a gig where I’m all prepared for such things, it threw me a bit, and I ended up thinking ‘was that any good?’ – the feel on it was nice, and there were some marvellously random moments when I’d forgotten about stuff I’d sampled at the beginning and wanted to bring back later, which suddenly appeared to my great surprise… Finished with a really nice version of ‘Kindness Of Strangers’ though, which was good.

A really lovely crowd – Darbucka gigs for me work on a lot of different levels – it’s a really lovely environment in which to play, and the owner is very supportive of what I bring there. It’s a chance to try out new ideas, new line-ups and have some fun, and it’s a way of building an on-going rapport with the audience, as there’s no pre-conceived notion of how to present a show there, so I define it myself. Which involves talking a lot of bollocks and making the evening as much about having fun as it is about hearing great music.

My audience doesn’t grow particularly quickly through it, but each time people bring friends, or the other artists draw people in, and they wouldn’t have seen me before. I never sell more than a couple of CDs there as most of the audience who want my CDs already have them, but it’s such a lovely venue.

Anyway, I’m REALLY looking forward to the gig in Milton Keynes on March 16th – me, Yolanda and Kev Cooke, and Lobelia will be with me so we’ll get to do some of our songs – that’s what I miss the most now on all-solo gigs, getting to do those songs…

the ecosystem is wrong… why facebook for music still doesn't beat Myspace…

Jeff Schmidt just linked to this article via his Google Shared Items (find them in the side bar on his blog and grab the RSS feed) –

Facebook Music Rocks, in which the author waxes lyrical about how functional the Facebook music pages are. Which is true, they are, functionally, kicking the ass of MySpace, with the option to embed lots of stuff, and present it in a facebook profile-like way, so the target audience understand it.

We know that, I’ve blogged about that before (click the ‘facebook’ tag at the bottom of this post for all the stuff I’ve written about facebook… grab the feed for that tag too, if all you’re interested in are facebook stories… :o) – the problem is about ecosystems, and facebook is about connecting with people you already know. Facebook doesn’t have anything like the internal friend-adding currency that Myspace has. If I see someone with 1000+ facebook friends, I assume they’re a bit of a tool.

I, and the vast majority of the people I talk to, use facebook to keep up with friends news, whereabouts, photos and to play scrabulous. I deny almost all the event and application requests I get, I only put stuff on my page that says something about me, and have never that I can remember added f’ing pirates or vampires or werewolves or whatever other nonsense is on there… I don’t even use it for sanctimonious bragging about how green I am to my friends (despite that being my conversation-of-choice in most circumstances… ;o) – it’s about real world connections played out in web-time, and less-so, about finding out about online friends you have from elsewhere. I think I have maybe 3 friends that I first met on facebook, through other friends.

So, what of the musician pages? Worth having? definitely. Especially for indie musicians. Here’s why – your friends are a really important part of your audience. Look, we all know that having a stranger buy your CD or download is way more impressive and thrilling than your mum buying copies for the family for Christmas, but money is money, audience is audience, and your friends are predisposed to give you a fairer hearing than most. And – here’s the facebook catch – they have social currency to gain by telling their friends about their connection to you – almost every artist I am a fan of on Facebook is one I know personally. They are people I’m proud to know, regard as friends and want to help out.

So use facebook music, now, to mobilise friends. It may well be – in fact, it’s likely – that the facebook ecosystem will shift, and more people will embrace the idea of finding music there, of searching for great music etc. At which time you HAVE to have your ‘ducks in a row’ – your page set up, your core base of REAL WORLD FRIENDS (and family members) on there using it, and spreading the word.

Make the most of your friends as a fan-base and defacto street-team. That’s where facebook works REALLY well right now.

click here to go to my musician page on facebook
and here for To The Left Of The Mainstream

(oh, and grab my google reader shared items from the side bar on the front page here while you’re at it – there’s some great stuff there…)

Critical, pragmatic, self-belief – an artist's life-blood…

Had a lovely morning giving a lecture/masterclass at the ACM today. It was extra-fun because I was given a topic I hadn’t spoken on before, but was given it at too short notice to have time to prepare so I had to wing it. And it went great, at least from where I was stood (which as we’ll discover, is the best place to judge it from…)

I was asked to talk about putting together a set list, and preparing ‘programme notes’ or promotional material… we didn’t spend much time on the last bit, as I got really into the theme of the first bit.

The first thing I highlighted was the danger of mechanistic formulae for ‘how things work’ – in any creative pursuit, following the tried-and-tested paths to the letter is a recipe for mediocrity, for blending in, disappearing into the general morass of non-descript music. This doesn’t mean that learning about those formulae was a bad thing, just that there is no ‘if you do this, then you’ll be great’ about any creative pursuit. Everybody wants the ‘one piece of advice‘ that’s going to send you over the edge – as I mentioned in the Bull-Schmidt podcast I once heard a kid ask John Scofield what kind of things he’d play over a Dmin7 chord, obviously hoping for some magical one line key to unlock sounding like Sco… clearly, that’s bollocks. It doesn’t mean that you couldn’t find within Sco’s phrasiology some repeated ideas that are common to the way he plays over min7 chords, it just means that those aren’t what makes his playing connect… Using the 9th a lot isn’t a formula for sounding great, even if it is what a particular soloist does a lot…

So where do we start? Well we start with a guiding principle, but instead of it being one to lock things up and give us a tidy outcome, it’s wildly open ended, and ultimately a call to being mindful of every bit of music or performance you come into contact with… The principle is one of ultimately trusting your instinct, your gut, your own taste.

Why? Why trust your own taste? Primarily because it’s pretty much all you’ve got. There are so few people in the world who can successfully and repeatedly second-guess the taste of a particular music buying audience, that it’s fairly safe to assume that you’re not one of them. And, as Jeff Schmidt pointed out here, so much of it is completely random anway… So, your own taste – why go with it? Because unless you’re the kind of person who gets off on the sound of the fridge door opening and closing, the chances are there’s something pretty standard, broad and interesting about the music that excites you. It probably won’t be completely ‘mainstream’ (serious musicians with completely mainstream taste scare me) but will probably feature an appreciation of some stuff that your more snobbish listening-only friends would dismiss as ‘too pop’…

So you embrace your own taste, you reconise that there’s a reason why you like the things you do, there’s a way they make you feel, there’s a way that the music you choose to put on soundtracks your world (here comes the pay-off) – and you attempt to write and perform music that makes you feel the way that music makes you fee. That’s a very different thing from trying to sound like someone else. Soundalikes are generally compared unfavorably to their primary influence. You might convince some short-termist record company goon that you’re worth a punt because the band you’re ripping off are successful. You might even sell millions of records. But it’s phenomenally unlikely, and not really a good bet, given that your stake is ‘every waking hour’…

No, if you go with your taste, and aim to write and perform music that soundtracks your life in the way that the music you love does, you’ll be writing music you love, but music that tells your story. You’ll be combining the emotional imprint of the different things that inspire you, and building up a range of emotions and stories and feelings to soundtrack.

However (there’s always an however), what needs to happen then is to critique your own taste and filters. To critique your perception of what you do. Because as well as being most in touch with your own taste, you’re also the one most likely to be seduced by the idea of what you’re doing do the point where you mis-judge your own execution of that idea.

And that, dear bloglings, is a life long process of refinement. Of listening, playing, resting, listening, of being surprised and disappointed, restless, enthralled, of peaks and troughs and plateaus. And advice.

The advice bit is a real headache. Why? Because everyone will want to give you their opinion on what you do and most of them will be a waste of oxygen. Again you ask, why? Because precious few people will take the time to try and understand what you’re trying to do, to offer advice that helps you reach for your goals. So few people realise that their taste has pretty much nothing to do with whether what you do is ‘right’ or ‘good enough’ or whatever.

It’s why posting your music on a web forum and asking ‘what do you think?’ can be a very effective promotional method, but is worse than useless as part of the critical process. It just provides taste-based opinions entirely without context and as we’ve said many times before context is everything. It’s quite possible for people to say that great music is great for all the wrong reasons. It’s possible for positive feedback to be deeply unhelpful.

The interwebs are full of people who will tell you why they don’t like what you do, what you’re doing wrong, why your songs are too fast/slow/ repetitive/poppy/ rocky/obscure/ bassy/trebly/ spikey/dull/complex… the list is endless, and the ascii-rendered brain-vomit that they produce is pointless.

What you should really be trying to build is a council of referencea group of people who have demonstrated beyond doubt that they get what you’re trying to do, who are sympathetic to your approach, desires, inspiration and goals, and who want to help. A few groups of people are immediately disqualified –

  • anyone with a dispensation towards jealousy when they hear other great music, *anyone who’s on your pay-roll (if they feel their job is at risk if they piss you off, no-one’s going to tell you you need to work harder),
  • people who are always telling you how other people should be doing their thing.

Finding those people who have a desire to help, to support encourage and to push you to be the best you can be is a rare rare treasure. Hold onto them. And perhaps even more importantly – both in terms of the learning exercise and the karmic fall-out – BE THAT PERSON TO THOSE WHOSE MUSIC YOU HOLD DEAR.

What does all this have to do with putting a set list together? Everything. Getting, as our ‘merkin friends say, your ‘ducks in a row’ is vital before starting to decide things like this. Guiding principles are vital because our thoughts need guiding.

When you’re thinking about what the first song in your set should be, there are loads of things to consider. Firstly, who your audience is – do they know who you are? Do you have a reputation to them that is bigger in their minds than their actual knowledge of what you do? Are they already onside? Is it a genre-specific event? From those and other related questions, you can deduce an approach, based on whether you want to confirm or confound those expectations. Do you want to ease in gently, or lay your cards on the table?

Gigging to a new or new-ish audience is the art of seduction, you’re trying to draw people in, get them interested, get them feeling positive about what you do, and expectant for what’s coming next. You can lay out a manifesto in your first song, or just put them at ease. You can be confrontational in a ‘this is us, screw you if you don’t get it’ kind of way, or your can say ‘come on in, the water’s lovely’ and invite people to join you in your soundtracked smiley world.

And from thence the journey continues – how long is the set? do you have a long time to do the slow build, or do you only have four songs to wow them? is there a ballad or two that you want to fit in. Where do you fit the freaky song in? do you want to throw in a curve ball, and do a song just bass, spoons and four part harmonies, even though you’re a screamo band?

It can all work, there are no hard and fast rules, and for every formula there’s a breath-takingly great band that have printed out said formula and wiped their arses with it.

Do what works, but constantly critique what it is that you think works. The key to keeping a balance (and well done if you’ve read this far!) is a principle I apply to just about everything, that of ‘pragmatic self-assurance’ – I assume I’m right and operate as though I am, whilst being constantly open to the possibility that I’m wrong. Any criticism that has context, that is shared by someone who wants you to grow not fail, who has proven they understand your goals and wants to help you towards them, is to be cherished and heeded. Reviews in fanzines and critiques from muppets on web-forums and email-lists, who write to belittle what you do for whatever odd pointless reasons are to be avoided. Don’t even read them. Go elsewhere for the critique you need, to a deeper place.

And never stop learning. (this’ll be my last point in this hugely overly-long blog post) – for any music student, it’s catastrophic for you to study music with the idea that there is some kind of difference between what you’re trying to do and what your teachers or other pro musicians should be doing. We’re all trying to play the best music we can, and to communicate it as best we can to an audience. Passing exams is neither here nor there. It’s not a bad thing, but it’s also no indicator of whether you’re going to be ‘successful’ at what you do. It can provide a useful framework for learning, I’m not suggesting that formalised education is a bad thing, but it has to be about you as a musician growing, learning and more fully realising who you already are. I didn’t stop studying when I left college, and I didn’t start being a creative musician when I ‘turned pro’ – whatever that means. All that changed was how the bills got paid. On an epistemological level, I’m doing the same thing now as I did when I first picked up a bass and started whacking the strings with a thumb pick. I’m trying to develop the control and awareness I need to make music that soundtracks the world around me.

It’s simple in concept, and lifelong in execution. Enjoy the journey.

Billy Bragg, KT Tunstall, Leo Abrahams & Foy Vance live…

So iTunes have started doing an annual festival – itunes live. This year they seem to have a thing for collaborations, which do often, it must be said, make a gig particularly special.

And is no doubt one of the main reasons why the genius that is Leo Abrahams was on the bill – his new album is pretty much all colalborations, and features KT and Foy.

The gig started with Leo on his own, playing a couple of my favourite tunes of his; Anemone (not Amoeba as I called it on twitter last night) and Kristiansand.

He was then joined by Foy for a song together, which was beautiful.

and Foy Vance (at The Luminaire tonight, if it’s not sold out) – sweet Lord, why had no-one told me about him before? Loopin’ up a storm, layering acoustic guitar (not sounding v. acoustic, but hey, it sounded amazing) and voice, and singing like a gospel preacher. Really really compelling stuff. I’ve yet to explore his recorded output to see if he’s managed to capture that magic on record, but live he was breathtaking. Didn’t know any of the songs, obviously, but all were arresting and beautiful. Amazing stuff.

Then a break, after which the ever-amazing Billy Bragg came on (Billy made some reference to using Google alerts – so if you’re reading this, hi Billy!) – one of the most consistently fantastic live performers I’ve ever seen. I’ve never seen him do a bad gig, his rapport with an audience is that of someone who’s been doing this for 30 years and still loves it, is still grateful for the chance to sing his songs and weave tales. The new songs from his upcoming album, Mr Love and Justice bode incredibly well for the record – both the title track and one he played at Greenbelt last year, I Keep Faith, are singable after the first chorus… REALLY looking forward to this one…

His set ends with a duet with Foy on Woody Guthrie’s ‘I Ain’t Got No Home’ – deep, moving, spiritual in all the right ways. Billy’s lack of pretension makes him the perfect foil for an earnest gospel-tinged singer like Foy…

…or indeed, KT Tunstall. But more on their collab. in a bit.

KT’s wee band these days is her, a drummer (Luke) and two backing singers, and her ‘Wee Bastard Pedal’ (or Mk 1 Akai headrush to the geeks), and she makes a pretty incredible noise with it. Once again I’m struck by the energy, honesty, humour and passion in her writing and playing. Amazingly she completely bollocksed up ‘Black Horse And The Cherry Tree’ – a songs she’s played perhaps more than any other – tried it three times then gave up. And even then, the cock-up just made it all more human, intimate and special. as I said in my blog post about their last gig, screwing things up is never as bad as the artist thinks it is. Always make it funny, don’t try and cover it, laugh and move on. Which is what KT did, and played up a storm.

So when BB came back on, we were all set for a big finish, and we got it! Starting with a reprise of their version of ‘The Drugs Don’t Work’ as played at HMV last week, they then played a brand new co-write called ‘Don’t Do It Liza’ which is one of the most arresting, engaging, emotional songs I’ve heard in ages. Swooping harmonies, a beautiful dark tale.. and we got to hear it twice cos they wanted a better take to sell on iTunes. :o)

All in a stunning evening – four of the best live performers around on one stage. Was amazing to see Leo, having played with him at Recycle gigs, doing his own stuff to such a large non-muso crowd, and it going down a storm. Leo’s an unbelievably gifted musician, lovely bloke, and spends a lot of time making superstars sound superstar-esque, but he’s getting the breaks for his own music now, and its long overdue.

KT has -as I’ve said too many times before – always been mischaracterised as a female James Blunt, but her live shows make a mockery of that notion in a very clear way. She’s a seasoned performer, engaging and funny, and show up the depth and character in her writing in a new light. She’ll hopefully be around YEARS after Blunt, Morrison et al have disappeared to Butlins…

Anyway, the tracks should be showing up on iTunes soon, and the two KT/Billy tracks are unmissable. And if you haven’t already got Leo’s first two records – Honeytrap and Scene Memory, go and listen to them, then buy them, they’re amazing.

Also worthy of note on the night is that Last.fm were co-sponsors of the event. Given that iTunes have long been the champions of DRM (even if it was because they were bullied into it by the majors), it’s nice to see them promoting a ‘listen on demand’ service like Last.fm, which given that the it’s limited to three listens, and there’s ad-revenue sharing, is still geared towards monetizing the added exposure of streaming on demand… It’ll be interesting to see where iTunes store goes next, be it closer ties with last.fm, or their own streaming scheme…

And another thing, if you’d been following me on twitter, you’d have got much of this as it happened, as I was able to post updates between songs. Twitter makes for a great brain-log for notes for future blogs when out and about, and a way to generate instant feedback on those thoughts… join the fun!”

The Steve 'n' Jeff Show – podcast available now…

So the podcast is already up! – you can read Jeff’s take on it here – I had a listen to it last night, and it sounds pretty fun. We talk a fair bit about the relationship between technology and music (or more getting information out about being a musician), about some of the things that turn us off and on in the music world, how much ‘bassness’ there is in how we see what we do… It roams a little, but Jeff’s a sharp cookie, and fortunately interrupts me when I get to long-winded… He’s the ideal foil for this kind of thing, and I think I do the same for him…

I guess it’s worth noting that there’s some grown-up language in there (both in terms of hopelessly long words, and some ‘strong’ ones too), so if you’re overly bothered by such things, you might want to proceed with caution, though if you’ve ever had a normal conversation with Jeff or I, you’ll be in the same territory. :o)

here’s the download link, or via the player below –

or apparently you can find it on iTunes… not tried that yet…

Enjoy!

First Podcast recorded… available ASAP.

I’ve just finished my first joint podcast with Jeff Schmidt – we recorded it via Skype, and talked for about an hour about lots of musical things (we both were expecting it to get all political/religous but it didn’t this time – it’s going to be a series, so there’s plenty of time for that!)

Jeff’s the ideal person to do this with, in that he’s a solo bassist and tech-geek, but has enough of a different take on things that we can get our teeth into it without it becoming a podcasted mutual hagiography.

I’m looking forward to listening back to it, and will make it available as soon as possible.

So, bearing in mind that it’s Jeff and I talking nonsense about bass playing, music, marketing, the web, geek-stuff, and will contain rants about religion, politics, philosophy etc… have you got any suggested titles?

If you want to follow the development of the podcast, and any other whacky ideas that Jeff and I may come up with, you can subscribe to our combined twitter feed here – that way you can read our conversations about it in real time… or you can just sign up at twitter.com and join the conversation yourself…

Cabaret, variety and the joy of artistic cross-pollenation.

I just got in from playing a cabaret show, organised by Moot, an urban spiritual community, with a particular fondness for the arts.

This was the second of their cabaret evenings I’ve played at, and once again the line up was hugely mixed in terms of artistic disciplines, but all of really high quality. There were 4 musical acts (me, two singers with guitar and Foreign Slippers, a comedian, a performance poet, and a dramatic monolgue. Last time there was also a guy playing contemporary classical works on a giant marimba… a really great mix.

steve lawson at the moot cabaret

In the UK, there’s an old tradition in performance called ‘Variety’, not just the concept of ‘having lots of things’ but an actual school of performance where the performers were multi-disciplined – they had to be able to sing, dance, play at least one instrument, act, tell jokes, compere, etc. etc… It’s why old timey british comedians often turn out to be great musicians or dancers (Bruce Forsyth being top of the shop – a stunning tap dancer and really lovely piano player too.) I guess the US equivalent was Vaudeville…

It was a relatively low-brow kind of show, the variety show, but it did mean that people going out weren’t going to watch two similar bands play for ages and ages, they got to experience a range of culture.

Cabaret, as a term, has slightly more cultured connotations than variety, but is still largely a kind of nightclub type show with a range of entertainers.

I rarely get to play on bills as diverse as this. The main other places where it happens are at Greenbelt (obviously, being an arts festival), and at Jenny Roditi’s ‘salon’ events at ‘The Loft’ in Crouch End – I’ve had a couple of really wonderful gigs at Jenny’s, particularly the time I played for about 15 or 20 mins with just one loop box and a bass, not processing or toys, but shared the bill with some incredible and diverse musical talent and a couple of story-tellers.

Artistically we need this kind of inspiration – this evening I followed Bart Wolffe, doing a dramatic reading of Nikolai Gogol’s Diary Of a Madman – he did an incredible job of portraying the descent into paranoid delusion, which started out kinda funny, and got incredibly dark. So dark that I couldn’t just go straight in and play what I was going to play. I did a much more dissonant twisted improv thing to start with just to respond in some way to what I’d just seen… I’ve no idea what the audience thought of it, but it felt like a much more appropriate transition into what I do than just dropping straight into one of my tunes…

So for the audience it was a fantastically mixed evening, all high quality stuff, and a huge range from funny to deeply tragic, romantic to cutting and sarcastic.

And for us as the performers, it was a chance to cross-pollenate. For me to get to respond to Bart’s performance, to listen to the cadence of the poetry, to hear the other musicians, and to play in a gallery space surrounded by amazing art, it’s pretty vital stuff.

Somehow we need to engineer more such spaces… any suggestions how? :o)

New Steve Lawson and Lobelia EP to download

You may remember back in December, Lobelia and I put out a limited edition CDR release of our live in Nebraska EP – 5 tracks taken from our forthcoming live album (release date TBC!)

Well, it’s now avaliable for download from the online store here – for &3.50

It’s over half an hour long, and the track list is

happy 7:34
mmfsog 4:09
i’m lost 5:11
rain 9:14
jimmy james 6:51

and it’s fab – if you go to my myspace page you can hear the first song from it.

anyway, you can get it as a download, it’s fab, you’ll love it, I’m sure. :o)

It’s worth noting that in general, I still sell way more CDs from the online store than I do downloads. I sell more downloads from itunes than I do here, though probably the highest volume of track sales is from emusic, though the unit price is much lower… I’m guessing, I’ve said before, that is at least partly because as a solo bassist/jazz/ambient/whatever artist, my core audience is that bit older, and not comprised of the digital natives in the 15-25 age-group that seem to dominate so much of the discussion around online music. I have a number of listeners who would be unhappy even with 198kbps MP3s (the new ones are 256k VBR), and so still want CD for the quality… I think the next full album will come out on high res MP3 and flac… I may do what Trent Reznor and Saul Williams did and put out a free low-res version, and a paid download much higher res version… we’ll see…

The randomness of Success..

Jeff Schmidt just posted a GREAT blog post entitled “Luck, timing and the randomness of getting BUZZ” – all about some stats re: what creates ‘the buzz’, why do certain artists ‘suddenly break big’ etc.

it’s a great article, and I’ve posted a lengthy response.

Jeff’s blog (here) is a great source of thinking on ‘Music 2.0’, the industry, digital stuff and being a solo bassist – his site makes a great parallel read to this because a) he works in radio, so has a whole other side to his experiences and b) he’s not trying currently trying to do music full-time, so is freed up from the need to think about making money now in his equations, so can dream a little more expansively than those of us who need to make the rent by the end of the month…

(oh, and he’s an amazing musician too – check him out on Last.fm – and his alter-ego Ruiner Severhead)

© 2008 Steve Lawson and developed by Pretentia. | login

Top