SKF Goals for 2020: Doing the Work

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February 21, 2020
by Scott K Fish

This year, 2020, I set personal goals. One goal is simple: keeping a list of books I read this year. The key is finding one convenient place to keep a running list, remembering to add to it as I finish reading each book.

Not having one convenient place doomed my 2019 book list. I’d finish books, put the keepers on a bookshelf, and giveaways in a box. Later I’d remember my book listing goal, try to remember what I’d read, give up, and vowing to get it done “next year.”

This year I set up on my personal Facebook page an “SKF Books Read in 2020” photo album. It’s working. The six books I’ve read or finished reading this year are already listed. If I’m near a computer or my smart phone I can easily update my list.

I have another longstanding goal. Achieving it is more complex than my book list, but I’m committed to reaching this goal too.

I’m a songwriter. That started back in the 1970s or earlier. I have a music publishing company, professional song demos. I’ve been in bands where songs I’ve written were part of our repertoire. My songs were ideas coming to me in song format.

I write songs on guitar, piano. Sometimes melodies and/or lyrics come to mind while I’m driving. I have to take care to write down those ideas as soon as I can — which sounds perilously close to my past trouble keeping book lists.

Back in my band days, when music was my life focus, my circle of friends included guitar players and pianists. I relied on them to take my hesitant guitar and piano playing, and play them as the songs I had written.

Years ago I put my band days behind me. Three of my closest musician friends died. Others drifted apart. My songs lay quiet for decades. My non-musical career was such that I never developed new friendships with musicians.

Then around year 2014 I accepted an invitation from a co-worker friend at the Maine Department of Corrections to a few jam sessions with folk musicians. I played percussion, mostly wire brushes on a snare drum. Just that modest reintroduction to music making made me realize how much I missed that part of my life.

I wanted my songs back and decided I would figure out a way to record them myself, and then — win, lose, or draw — I’d release my songs to the public. That’s my 2020 goal.

My reluctance, my fear, is my biggest obstacle. But there were/are other lesser obstacles.

I owned neither a guitar nor a piano. I bought a guitar. Obstacle cleared.

Next I discovered I had forgotten how to play most of my songs. What chords did I use? Was it this chord or that chord? What were the second verse lyrics? In some cases I had forgotten altogether writing certain songs.

After many months I had learned again to play and sing 15 original songs well enough to record them on rough digital demos. Obstacle cleared.

My next obstacle is recording my songs as finished products, to give the public a quality listening experience. That means learning how to use a computer based recording studio called GarageBand. Just to learn the basics of GarageBand I paid to take two online how-to courses. Obstacle clearing.

Once I’m able to play my 15 songs without mistakes, I need a quality digital recorder to capture the songs so I can edit the songs with GarageBand. For that I bought a ZOOM H4n PRO recorder. It fits my “quality digital recorder” bill. That leaves trial-and-error period obstacles with both the recorder and recording studio.

Then the only obstacle to reaching my 2020 goal is me doing the work. Think good thoughts. Most of all I don’t want to be buried someday with the music still inside me.

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Neil Peart on Music Marketing – ‘It’s a Sad Mess’

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Neil Peart with Zildjian’s legendary Lenny DiMuzio

SKF NOTE: Digital music devastated the old order of earning a living in the music business. I still don’t understand all the nuances those changes made. But I understand enough to know album sales and airplay lost much of their money earning potential for musicians, while live performing became a major option for musicians’ compensating for their loss of song/album royalties.

In 2015 I asked Neil Peart how Rush was adapting to the music marketing changes. Neil’s reply was, and is, clear, helpful, and eye opening.

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Scott Fish – Mar 15, 2015, 9:01 AM

Sometime maybe you can explain how Rush – and, by extension, all popular musicians – adjusted to the changes in marketing music. It wasn’t so hard when the end product was a vinyl LP. The record company produces X, sells Y, and Z is the amount of return LPs.

But now, with digital music – holy smoke! Actually, albums are sometimes digital, CD, and vinyl. From my perspective, it seems as if musicians almost consider albums as loss leaders, making up the loss with concerts and swag.

In the 50s, as you probably know, all the Indie rock labels (i.e. Sun, Chess) would produce boxes of 78’s, then 45’s, throw them in the trunks of cars, and barnstorm radio stations across the U.S.

So, on one hand the new technologies make it much easier for musicians to produce and promote their songs. On the other hand, the new technologies seem to make it tougher for musicians to earn a buck, or a living.

[Neil Peart] — Mar 15, 2015, 11:51 PM

Re: your question about the “economics” of being a rock band today. Yes, in the ’70s until the late ’90s/ early-Noughties touring was often a break-even proposition, while record sales (and publishing etc.) were the income generator.

Now, alas, for us even to make a modestly-budgeted album would struggle to break even — and touring and its associated revenues (merch) are the wage-earners.

Which sucks when you’d really like to retire from all that — to feel free of it. And you pine for the days when after a lifetime of work, artists used to be able to live off *ahem* royalties (such a quaint concept).

Because as the media of musical commerce change, corporate entities struggle to keep up — always, by definition and temperament, well behind the true zeitgeist. And when they do get their fingers into the pipeline, they find ways to diminish the flow to artists to a trickle. (I sense there’s a metaphor with water rights in the West, but am too tired to pursue it. Lucky you.)

In another example — once upon a time writing a theme song for a hit TV series could be a lifetime annuity. No more. Bean-counters hate the idea of anyone else making any part of what they see as “their” pie — or at least (and this is good) their pie-chart!

(Because it’s quarterly earnings on which their personal performance is judged, nothing more.)

Now such specimens dictate, without negotiation, that the composer will only be paid a flat fee — not very much — and nothing more ever, in perpetuity. They buy out the composer before any eventual success or failure is even known. Thus they feel justified in paying on “failure” terms.

In the bigger picture of the entire music business, as the suits struggle to keep pace with digital downloading and streaming, they institute structured deals that give the artist a pittance. (Classic example of “too little, too late.”) As if to say, “It’s this or nothing — because we are stopping ‘them’ from stealing it all.”

It’s a sad mess.

NEP

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Alan Dawson – Discovering You’re Playing Drums by Yourself

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SKF NOTE: This exchange is from my interview with Alan Dawson for Modern Drummer’s January 1986 10th Anniversary Issue. The interview took place in 1985 in Alan Dawson’s Massachusetts’ home living room over Dawson-made tuna fish sandwiches.

This is part of Mr. Dawson’s reply to my question: When you were starting out were drummers separated by titles such as swing” drummer and bebop drummer?

Alan Dawson: I revered Jo Jones. I tried to play like him. Then I revered Max Roach and tried to play like him. Something happened that is inevitable if you’re going to do any kind of growing. There’s some point where you get up on a bandstand and suddenly discover that you’re playing the drums by yourself.

In your mind you can’t say, “Yeah, well this is how Jo Jones would do it,” or “This is how Max Roach would do it.” You’re by yourself and you’ve got to figure out how you do it. You have to start listening to the music and reacting on your own, rather than what you think somebody else would do.

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Drummers Mike Braun, Max Styles, Skip Meyer

SKF NOTE: Here are three more publicity photos from a stack of photos I accumulated in the early 1980s. I’m posting these primarily to add a few more drummer photos to the worldwide web. From my own research I know how tough or impossible it is to find photos of drummers who appear on recorded music, or who were never recorded but are the stuff of legend.

Looking today, Feb. 20, 2020, for background information on some of these bands and drummers takes time. I confess I am unfamiliar with all of these bands and drummers, but that’s not a reflection on the bands, the drummers, or their music.

Drummer Mike Braun is standing, arms crossed, front right in this Tycoon publicity photo. I found some more information on Mike Braun on Wikipedia, Linkedin, and at Yamaha Drums.

Max Styles, drummer with The Kings, is standing in the back right in this photo. The band has an interesting documentary online called, The Kings: Anatomy of a One-Hit Wonder.

Shoes drummer Skip Meyer, who died in 2014, left both a video and audio legacy of his drumming.

Tycoon

The Kings

Shoes

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Rest in Peace, Paul English

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SKF NOTE: Rest in peace, Paul English, who was to Willie Nelson what Sonny Greer was to Duke Ellington. I thoroughly enjoyed meeting and interviewing Mr. English for his Modern Drummer feature interview.

These two Paul English photos are from the Willie Nelson Family Album book I’ve had since 1980.

Also, Jack Propps has an excellent Facebook page dedicated to Paul English with postings and photos from friends and families of Paul English.

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