Ask a music scene micro celebrity

[FF_Woodycooks]

Yes but its because you already have money/millions and are happy. If you're working for 8 dollars an hour doing labor, and playing for free beer and a few bucks at night, staying true to principles isn't as easy.

[electrical]

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So most underground bands would turn down a big record deal and national promotion so they can continue to work the local scene for free beer, and finally retire to a carpet cleaning business or whatnot?

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So much you do not understand. So many words it will take to teach you. Okay.

I don't suggest that most bands would turn down big deals. Most would take them and be worse off eventually. Luckily, most bands are not offered deals, and so don't have to make such choices, and the question is therefore moot.

Of those bands who are offered deals with big record labels, many of them (not a majority, but enough to prove my point) are already comfortable on independent labels that serve them well, and they see no need to move to a more bureaucratic situation that works less efficiently and cares less about them specifically. Not all bands think this way, but quite a few (especially those who have been paying attention and can do their own math) do.

National and even international promotion and touring is available to bands of no stature and no resources through the extremely efficient fan-and-band network that has supplanted the mainstream outlets for independent bands.

If you're talking about payola, okay, that single example of the incredibly inefficient music business is only available to big label acts. Whoop de doo. If you're not satisfied with selling records and concert tickets, and getting played on enthusiastic independent/college/internet/satellite stations, but also insist on getting played on am and morning zoo fm radio, then you have no choice.

Independent bands tour the world and play in front of crowds in the many thousands. To suggest that they will be playing "Proud Mary" in local taverns forever is to display utter ignorance of the music economy. Some of these bands can command fees better than $10,000 a night, and a few can get a multiple of that. Hardly beer money.

As for the carpet-cleaning business, where do you think major-label artists end-up once their advance has been spent? In the palaces of the old rock star gated retirement community?

No, they end up getting jobs, just like everybody else. Where's the shame in embracing that reality instead of deluding yourself about it?

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I mean you make a nice living, you have a skilled techincal profession, I am speaking more of band members that have nothing else to lean on. Does 'keeping it real' trump all?

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If you will starve unless you become a rock star, then you have bigger problems than whether or not you are a rock star.

[electrical]

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Yes but its because you already have money/millions and are happy.

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Do you think I dropped into the world that way? Do you think I did not have my share of $8 an hour jobs? I am older than you, probably, so the figure was more like $5, but you get the idea.

Would you believe me if I told you that not compromising my principles is what got me whatever money and success I have enjoyed in excess of that $5 an hour?

If not, I'm sorry, but you will never understand. If you believe me, then the rest of your curiosity should satisfy itself, QED.

[Max Raker]

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As for the carpet-cleaning business, where do you think major-label artists end-up once their advance has been spent? In the palaces of the old rock star gated retirement community?

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Can you estimate what percentage of bands that sign major deals regret it? I read that article a while back where you keep track of a bands finances after they sign and it was pretty interesting. I think I used to assume that you sign a deal and you wake up the next day and you're Creed or somthing

[sponge]

Do you ever go to Discus CD Exchange on Broadway? I just rented a DVD for 50 cents; best deal in town.

[realsquid]

After you worked on 'Gub', I remember reading some disparaging remarks between you and Trent Reznor. A few years later, you worked on one of his albums. Did the two of you end up getting along better, or was it just business?

Also, what are your thoughts about King Buzzo and the Melvins?

[Gummy]

Steve,
I am a Shitape (as proven by my one post), but I love reading your opinions on recording. Thanks for doing this. I can't believe you put up with so much [censored] every time you try and do something like this. I opened a small studio about three years ago and share a lot of your opinions about recording. Do you feel that a studio starting now can make it without catering to the fix it in the mix/edit mind set? Oh, and thank you for your work with Jesus Lizard.

[pronography]

First I just want to say I think it's amazing that you're doing this. I'm a new engineer and you're by far one of my biggest influences. Anyway, I went through about 20 or so pages and didn't see this question asked so I figured I'd give it a shot...

To make it short and simple, what are/were your thoughts on Peter Sotos? I read that he lived with you around the time of his trial and while I find his books to contain some of the most visceral writings since De Sade, I'm much more fascinated with the man behind the writings and recordings.

[Transmission3000]

First off, thanks for recording the last few Neurosis records. It's always nice to have my mind blown out like that, every couple of years.

Now...to a couple questions:

Where does Powerage rank, as far as your favorite AC/DC records go?

What's the worst hand that you've won the most money on (in a game with other serious players, that is)?

Have you heard that Grinderman record? If so, what do you think of it?

[electrical]

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To make it short and simple, what are/were your thoughts on Peter Sotos? I read that he lived with you around the time of his trial and while I find his books to contain some of the most visceral writings since De Sade, I'm much more fascinated with the man behind the writings and recordings.

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He is a terrific writer and a genuinely good guy. It's hard to explain to someone unfamiliar with his writing, but he can effectively evoke feelings that one is uncomfortable entertaining. His writing is the most intellectually and emotionally honest of anybody I can think of. I admire the brutish simplicity, the conversational tone of the invective and the comfortable familiarity with the people and situations in his narratives.

His subject matter can be hard to handle, but if you have (or develop) the stomach for it, the writing is superb and it can reward parts of your intellect you didn't know you had. His records, similarly, can give you the capital-letter creeps. The unique element of his art is that he's not affecting anything. None of it is for show. Every sentiment is utterly genuine, and expressed in a way that will bring you into that frame of mind with no sleight of hand. Creating a compelling body of work with such hard-boiled artlessness and lack of poetry is unique in literature.

Peter never lived with me, and I don't get to see him as often as I like, but I consider him a genius and great friend, and I would go to some lengths for him if needed.