CVWW January 2016 by CV WorldWide Magazine

JANUARY 2016 THE Lifestyle Magazine For Music Enthusiasts & Custom Lifestyles

ALWAYS FREEThe2015

From Ashes to New is an amalgamation of members of defunct local bands in Lancaster. The band has received much critical acclaim in its infancy via social media outlets and satellite radio prior to releasing their self-titled EP via I-tunes, Google Play & Amazon. We had a chance to sit down with the boys here in Vegas and get an a exclusive on what they are up to! P.6

Contents... Memorial To Lemmy

NAMM JAMM Press Release:

From Ashes To New

Jamie Paullus Jamie Paullus continues to WOW our readers with the BEST Spokane has to offer - this month: music greats Gwar! Page 36

News You Can Use: 67 Chevy Impala

Order in the Chaos: "Covers vs Originals: Why I Chose to Blaze My Own Path" HAIR TRIGGER: a Comic from Anthony Hitaffer

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Sherry Keith Mystic Photography continues her up close and personal view into the Vegas music scene with Old friends Adelitas Way and Sin City Kiss! Page 12

proval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error. Publisher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a person’s name or photograph.

December 28th the music community mourns the loss of Heavy Metal Rock Legend Lemmy Kilmister. Lemmy passed away at the age of 70 yrs. old from an extremely aggressive cancer. Lemmy’s death has sent waves throughout the Rock Community. The Rainbow Bar And Grill will be holding Memorial Services from 2pm to 2am on Saturday January 9th. Go and celebrate the life of Lemmy Kilmister. Legends never die! R.I.P. Lemmy

In 1988 in Phoenix Arizona out of Compton Terrace I was fortunate enough to catch Motorhead opening for Alice Cooper. I remember I had been given tickets by a friend and we got inside the cage VIP area. We were about 6 rows back you know so you could definitely see. I recall there was this little douchebag in the crowd at the front of the stage kept spitting up at Lemmy. In the middle of the song Lemmy stopped what he was doing and yelled into the microphone while looking at the guy and said “Dude you spit at me one more f****** time I'm going to jump down there and kick your f****** teeth down your throat you hear me you little f****** punk?” The whole place erupted of course and it was a great scene ! I remember it was the first time I'd ever seen Motorhead and Lemmy in person. I just remembered how big and bad ass of a rockstar he was, and he was a man who was not joking andwas going to jump

down there and kick that dudes dental work out his ass hole. In memory of Lemmy Kilmister I thought I would share that story. I recently in the past 5 years picked up playing after being a professional singer for over 30 years. Of all of the badass songs I have learned to play, I would have to say that “Ace of Spades” is still on the top three of my favorite songs to play on bass .Then you get to sing along with Lemmy and let’s admit it, that is a voice to sing along with! So let's raise a toast in honor of Lemmy Kilmister! Here’s to you, there will never be another like you! May you R.I.P. and God Speed brother! ~ Nikki Saint Custalow

*John 5' Confirmed As Headliner For NAMMJAM 2016* Continuing at its legacy as the "hottest ticket at NAMM", NAMMJAM 2016 will be held on the Friday night of the annual NAMM SHOW, the biggest worldwide convention for the music instrument industry. Now in its 7th year, the Friday night NAMMJAM is considered a mustattend event by music’s most influential industry professionals, artists, media and fans. Produced and presented by DELVE TEXAS, past NAMMJAM’s average 2,500+ people in attendance and have featured stellar performances by Steel Panther, Megadeth, Shinedown, Hardcore Superstar, Testament, Hellyeah, Otherwise, Jake E. Lee & The Red Dragon Cartel, Periphery, Jackyl, Guthrie Govan and the Aristocrats, KYNG, Collective Soul and many other notable acts. NAMMJAM 2016, an invitation-only party, will be a rocking evening of music, fashion and camaraderie held on FRIDAY, JANUARY 22, 2016 at the fabulous CITY NATIONAL

GROVE OF ANAHEIM. Doors will open at 6 pm for dinner and cocktail service. Entertainment begins at 7 pm. Official Media Sponsors for NAMMJAM 2016 are GUITAR WORLD and REVOLVER MAGAZINE. Official show photography will be provided by renowned con cert photographer, CHAD LEE. Confirmed performances at NAMMJAM 2016 will include... *JOHN 5 AND THE CREATURES* With special surprise guests LA GUNS BEASTO BLANCO with a special guest ap pearance from Alice Cooper COFFIN FASHION SHOW

NAMMJAM 2016 will again have a charitable element with proceeds benefiting the HOUSE OF BLUES MUSIC FORWARD FOUNDATION. A “Live”, Silent Auction will be held during the event featuring an array of items such as: music memorabilia, VIP experiences, unique collectibles, original art pieces and more, all donated by sponsors and music industry notables. »Visit the NAMMJAM 2016 Event Page About DELVE TEXAS: Based in Austin, TX, DELVE TEXAS is a live action and experiential marketing, creative content and product development company owned/ operated by Suzanne Penley, David Vincent and Curse Mackey. DELVE TEXAS is a NAMM member and music industry service provider. NAMMJAM 2016 is a DELVE TEXAS production, all rights reserved. This is not an event

sanctioned by the National Association of Musical Merchandisers ("NAMM"). PURCHASE TIX HERE FOR NAMMJAM HERE: http://bit.ly/1mwEzpr

“From Ashes to New's message in all of their songs is that positive inspiration can be derived from all negativity no matter how harrowing life's obstacles may feel. In a genre where it feels negativity and despair seem to be in the forefront of most modern hard rock acts these days, From Ashes to New shines as one of few that stand out in that respect. With uplifting lyrics in the vein of self betterment, From Ashes to New looks to capture the attention of listeners from all walks of music.”

<CV> Let's start off with introducing the band and their roles <CHRIS> Chris Musser - Singer Matt Brandyberry - Rapper Tim Donofrio - Drummer Branden Kreider - Guitar Lance Dowdle– Guitar <CV> I understand you hail from Central Pennsylvania, is that correct? <CHRIS> Yup, Lancaster, Pennsylvania <CV> Tell us how you came up with the name for the band. <CHRIS> The band name from ashes to new came from a song lyric in a previous band that Matt and I where in together. And it kind of just fit for the fact that all of her other metal bands burnt out over the years and we all pulled together to start a new and make this new combination or crossbreed a different genres a metal rock cocktail. <CV> So give me a little background on each member, I understand you all have been in different bands.

<CHRIS> Yeah we all played in local metal bands over the years and Tim eventually moved on to tour nationally. Eventually we all just gravitated to this project.

<CV> What brought you all together and how did you know this was the right fit? <CHRIS> We had no idea how this was going to go. In the beginning g the plan was to just do the local thing again and sell our music on line but the fans got ahold of it and it just took off. <CV> What got each of you into music and at what age did you know this is what you wanted to do? <CHRIS> I can't speak for everybody but I have been singing since I wan a little kid. My grandfather use to sing in bands. He sang songs like Frank Sinatra, and Roy Orbison etc. So I don't know, I got into singing before I even really knew about him being in bands so it must be in the genes. Haha <CV> Who would you consider your biggest music influ ences and why? <CHRIS> I'm not sure over the years I have been influenced by so many different singers ... I would have to say Layne Staley and jerry Cantrell of Alice and Chains, for the tones in their voices and Daryl Palumbo of glass jaw, for the way he fluctuates his voice. <CV> Tell us about your very first show together, how did it go and how were you received? <CHRIS> First show was at the Chameleon Club in Lancaster PA, I think we only had 5 songs at the time but I'm not sure if it was sold out or not, if it wasn't then it almost was. <CV> You have a new album out called "Downfall" give us some insight on that, how is that album being received? <CHRIS> Yeah the EP is titled downfall, it's four songs hand-picked off our upcoming full-length album. The fans have been waiting a while for music so you want to get them something, A little taste of what's to come and it's been doing great.

<CV> Give us some insight on the song and mu sic writing process, is it a joined effort or does one person do all the writing? <CHRIS> Usually it starts off with Matt and Brandon in the beginning,; they create a riff or just a starting point and they structure the music around that. As they get sections of the song done, Matt and I write the lyrics. We always start with the chorus first and move on to the verses. Once we get to the studios thatâ&#x20AC;&#x2122;s when everybody puts in their two cents and adds their flavor to each song. <CV> Tell us about the recording process, anything you like or dislike? <CHRIS> There isn't anything special we do. We just take our finished product, the product as far as we can get it in our studio and then we end up reworking it in the studio. It all goes really smoothly.

CV> What is the motivation behind the songs your write? Do any of them speak to you on a personal level and if so why? <CHRIS> We are just motivated by life and the situations we are out through. "Through it all" is my most personal at the moment because I just went through a divorce so that one really speaks to me. <CV> I know you have only been together since 2013, but tell us about the music industry today and where you think "From Ashes To New" fits in? <CHRIS> Well the music industry is hard to keep up with because it's constantly changing and everyone has their own little niche in it. We're still trying to carve ours out and hopefully we are doing a good job at it. <CV> What are your thoughts on the use and necessity of Social Media ? <CHRIS> I think that social media is your most important tool as a band, and that being said it gives every band the same opportunity and by doing that itâ&#x20AC;&#x2122;s over saturated the market. So it's a double edged sword, good and bad at the same time. <CV> How do you feel about music download sales, would you prefer a return to CD's and Vinyl? <CHRIS> I personally like CDs I like getting the whole package and experience, album art with lyrics etc. <CV> You are currently on the Fueled By Monster Tour with Five Finger Death Punch, In This Moment and Papa Roach, you have to be pretty excited to be on on this tour with such amazing artists! How did this tour come about? <CHRIS> We finished the "Got Your Six Tour" but we got lucky enough to have Five Finger bring us along after passing our music on to them

and they dug it. <CV> Besides this tour, tell us about some of the other shows you have played so far, do you have a favorite place to play and why? <CHRIS> We have played with "Hollywood Undead" "POD" Atreyu, Falling In Reverse, Stitched Up Heart, Like A Storm just to name a few. Any show that has a high energy crowd. <CV> Any funny stories to tell from tour life? <CHRIS> Our last show on the Didgeridoo Destruction Tour last month, we got half way through our last song in our set and crew and band members from Like A Storm, Stitched Up Heart and Failure Anthem all ran on stage and started stripping away Tim's drum kit. They took away one

piece at a time until he had only the bare minimum, kick drum, snare and hi hat! Sounded rather empty lol <CV> What can fans expect to see at a "From Ashes To New" show? <CHRIS> A High energy performance and after we always try and meet as many people as we can. <CV> To date, is there any one show that is memorable for you and stands out and why? <CHRIS> We played a show in Michigan at the Soaring Eagle Casino for 11,000 people, that was the most people I have played for. <CV> Where do you think you are in the journey of "From Ashes To New" <CHRIS> Well right now where I am in the journey of FATN is on the I-70 trekking through Colorado, in a snow storm trying to make it home for Xmas. <CV> What do you like to do in your down time? Who do you like to listen to? <CHRIS> I like to enjoy a few cold beverages, I enjoy doing art, digital design and drawing. I like to go shooting, hiking, working out, and watch movies. <CV> What advice would you give a band just starting out? <CHRIS> Establish your social media presence and don't give up because there are a lot of ups and downs . <CV> What is your favorite thing about being on stage? <CHRIS> Feeling the energy of the crowd

<CV> What does "From Ashes To New" have planned for the rest of 2015? Any tours or projects in the works? <CHRIS> We just finished the Didgeridoo Destruction Tour and then went straight into the Christmas vacation tour. Now we are finally heading home for some much needed rest but we will see everybody in the new year with all kinds of stuff in the works. <CV> What would you like to say your fans and our readers? <CHRIS> I would like to just thank all of our fans, they are the best and we owe everything to them. We really appreciate all their support that they've shown us throughout the life of FATN. Everyone is doing such a great job at requesting our new single "Through It All" on Octane Sirius XM and local radio stations. It's really with their help spreading the ashes, spreading the word to everybody they can, that has gotten us to where we are today and we are forever grateful.

News YOUSE Can Use 67 Chevy Impala

brothers’ 1966 Chevelle. Like seriously, if they claimed it made an even 1,000 hp, it’s not like anyone on earth could actually feel the three missing horsepower. Honesty and modesty like that is hard to come by these days, but it’s precisely why Ringbrothers’ latest creation looks like no other ’66 Chevelle on the road.

Evidently, no one’s 5 feet 11 inches, but there sure seem to be lots of people out there that are exactly six feet tall. What are the chances? Interestingly, very few people make $95,000 a year, but there sure are lots of folks that earn a cool $100,000. What a coincidence. This peculiar phenomenon might explain why very few cars run 10.0s opposed to 9.90s at the dragstrip, and why certain wankers cite the useless advertised duration specs of their camshafts instead of their all-telling at-0.050 figure. Given the male ego’s tendency to distort reality, it’s downright shocking to see a horsepower rating of 997 on the spec sheet of a car as utterly breathtaking as the Ringbrothers’ 1966 Chevelle. Like seriously, if they claimed it made an even 1,000 hp, it’s not like anyone on earth could actually feel the three missing horsepower. Honesty and modesty like that is hard to come by these days, but it’s precisely why Ringbrothers’ latest creation looks like no

other ’66 Chevelle on the road. More often than not, the Ringbrothers’ swingfor-the-fences approach has netted far more grand slams than strikeouts. This track record, combined with their down-to-earth demeanor, is what convinced Chris McPhie to entrust Jim and Mike to build the Chevelle he always wanted. “I met Jim at the SEMA show in 2012, and we talked for what seemed like hours about the type of car I wanted to build. I had been looking for the right shop for several years, and this was the first time I had met a

News YOUSE Can Use builder that wasn’t cocky and arrogant, who mostly listened instead of doing the talking,” Chris recalls. “Jim was intrigued, and when I called him a few weeks later I was surprised to find out that he remembered every single detail of our initial conversation. He took my vision for building a ’66 Chevelle and threw in his own ideas without ever knowing if I would call him again. That’s the type of guy Jim is, selfless and driven to build your dream car with his skill set and artistry. It’s a true gift.” Although Chris has owned everything from ’69 Camaros to Ferraris to Lamborghinis over the years, he’s always had a soft spot for Chevelles. “When I was 14 years old, I convinced my dad to drive down from Ohio to Florida to pick up a ’70 Chevelle that my aunt and uncle were giving away. I felt like the luckiest kid on the block, and

figured I had two years to paint it and put some nice wheels on it before getting my license,” Chris remembers. “The problem is that at 14 years of age you can’t just let a hot rod sit in the driveway, can you? One day after school, I thought it would be cool to sit in the car and listen to the radio, but that wasn’t enough. I took the Chevelle around the block to see what it could do. The local police escorted me home, and not long after that the Chevelle was gone.”

That was 1986. For the next 20-plus years, although Chris had the good fortune of owning some very nice exotic cars, he couldn’t help but feel like something was missing. “The memories of that old Chevelle that never became a reality often crossed my mind. One day I vowed to get another Chevelle and build the car of my dreams from my earlier years,” he explains. Like many Chevy enthusiasts before him, Chris was seduced by the clean lines of the ’66 Chevelle body. After several years of searching for the right builder, work on Chris’ dream car finally commenced in 2012. Ringbrothers started out with a plain Jane six-cylinder car and hatched a plan to build a race car-inspired Pro Touring machine with the latest and greatest drivetrain and suspension components on the market. Oh yeah, the mechanical bits also had to get wrapped in the kind of meticulously fabricated custom sheetmetal skin that Ringbrothers is known for. With projects of this caliber, getting the major mechanical hardware—as impressive as they may be—in order is often the easy part. To bring the Chevelle’s floppy suspension into the modern era, the stock underpinnings were replaced with a Roadster Shop chassis that utilizes a C6 Corvette suspension up front, a custom four-link out back, Baer six-piston brakes, Afco coilovers, and beefy splined sway bars. To put the chassis to good use, Ringbrothers spec’d out one monster of an LS7

small-block form Wegner Motorsports. Based on an RHS block, the combo checks in at 417 cubic inches and utilizes Callies internals and RHS LS7 cylinder heads. A big Whipple twin-screw supercharger on top pressurizes the short-block to 1516 psi, which is good for 997 horsepower and just a smidgen under 900 lb-ft of torque. A Bowlerfortified Tremec six-speed manual trans is tasked with processing all that power, which it feeds rearward to a Johns Industries 9-inch rearend fitted with 35-spline axles. Sticking it all to the pavement is Michelin Pilot Sport rubber wrapped around HRE wheels (19x9.5 front, 20x13 rear) custom built to Ringbrothers’ specifications.

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Compared to bolting up turnkey suspension and drivetrain components, fabricating eye-popping custom sheetemetal is a painstaking affair requiring thousands upon thousands of hours of labor. The cosmetic changes are immense, infusing a mix of race car and exotic car flair into one of the best-looking Chevys of all time. “Even when you narrow the bumpers on these cars, they still stick out too much. In order to tuck them up like we wanted to, we cut the fenders off right in front of the wheels, about half way down,” Jim explains. “The fenders now sit on top of the front bumper. The hood, trunk, decklid spoiler, and front and rear bumpers are custom carbon-fiber pieces. For each of these parts, we first built a prototype out of sheetmetal, bodyworked them smooth, made molds from them, and then hand-laid the carbon fiber. Each of these parts are now available to anyone through our parts catalog.” But wait, there’s more. “We lowered the rocker panels 2 inches and ran the panel all the way through the side of the car, from the front of the rear wheel to the back of the front wheel. This really cleaned up the lines of the car and got rid of the ugly pinch welds,” says Jim. “On a stock

Chevelle, there are all kinds of messy lines where the front fenders meet the doors, so we cleaned all that up. That straightened up the line on the door that comes off the A-pillar. In the rear, we stretched the quarter-panels downward to line up with the rockers more evenly. The taillight buckets are off of a fifth-gen Camaro, and then we built custom lenses to fit inside them. One thing that’s always driven us crazy are side mirrors because there’s nothing out there that fits the theme of cars we build. This time, we spent 80 hours building custom mirrors out of flat sheet aluminum. We even integrated a camera in the driverside mirror.”

Considering the painstaking effort that went into the rest of the car, the interior couldn’t disappoint. The end product looks more like the cockpit of an F-22 than the interior of a muscle car. “Chris insisted on having metal seats, so we built custom seats that mimicked the shape of a Recaro. The only parts of the seat with padding are where the seats touch your body,” Jim explains. “The metal seats set the tone for the rest of the interior, so we had to keep it on the raw side. That’s why there’s no carpet. We hydro-dipped the floor, console, seat pans, and inside of the trunk to add texture. To make it look like there are rubber mats on the floor, we custom machined metal inserts and had them powdercoated. The shifter, blinker arm, and gauge pod were custom machined as well.” After 18 months of hard work, Jim and Mike unveiled the Chevelle at the 2014 SEMA Show. As is usually the case with Ringbrothers’ creations, it nabbed a bunch of awards, including General Motors’ Best Chevy at SEMA award and the Goodguys Gold award. It also ranked as a Top Three finalist in the Battle of the Builders competition. Such resounding success aside, Jim and Mike will head back to their Wisconsin shop, and continue cranking out world-class hot rods that starkly contrast their modest and humble demeanor. Too bad more folks can’t be like the Ring’s.

PRONG Confirm February 6, 2016 Release Date For New Album X - No Absolutes Via SPV/Steamhammer

New Tour Dates Announced LAfter a self-prescribed hiatus, 2012 saw PRONG blow the hinges off the door with the release of Carved Into Stone. Seemingly out of nowhere, Tommy Victor and company managed to combine all the previous elements of the band's formula: thrash, hardcore, industrial metal, etc. with a new urgency and angst that struck a deep nerve with the band's loyal fan-base and beyond.

Recorded over the summer of 2014 and released in early 2015, PRONG's cover album Songs From The Black Hole was loved by fans and critics alike. Always game to make the unexpected move, the album featured songs from artists as diverse as H端sker D端, The Bad Brains, Black Flag, The Sisters Of Mercy and Neil Young. After yet another headline tour, it was straight back to the studio for another studio album. Just days after mixing was completed, PRONG went on the road with Danzig and SuperJoint Ritual in North America and released the first single "Ultimate Authority" on the day the tour began.

The band marched onwards with 2014's highly acclaimed Ruining Lives,which spawned a number of instant classics. "Turnover", "The Barriers" and the title track became staples in their live set when embarking on a bone-breaking schedule of concerts around the world in support of the record. A video for "Remove, Separate Self" was re- X - No Absolutes is PRONG at their very best. leased creating even more interest in this signifi- The sheer intensity and ferocity of the albums cant recording. opening triumvirate "Ultimate Authority", "Sense Of Ease" and "Without Words" leaves the listener gasping for air. The title track is crunchy and

catchy at the same time. "Do Nothing" may be as close as you will ever hear PRONG get to a ballad and shows the enormous progress and confidence Victor has made vocally. It is hard to find a weak spot here, notably Victor mentions that "sequencing the album was a difficult task; every song is so strong in it's own way". Again produced by Tommy Victor, this time with trusted collaborator Chris Collier as co-producer and engineer, X - No Absolutes also broadens the horizon sonically.

Europe 23.03.NL-Nijmegen - Doornroosje 24.03.NL-Amsterdam - Melkweg 25.03.B-Vosselaar - Biebob 26.03.GB-London - Underworld 27.03.F-Paris - Divan Du Monde 29.03.CH-Geneve - L`usine 30.03.CH-Zurich - Dynamo 31.03.D-Stuttgart - Universum

With over 55 headline shows already announced for right after the album release, PRONG can seem to do everything but stand still.

01.04.A-Vienna - Szene 02.04.HU-Budapest - D端rer Kert 03.04.PL-Wroclaw - Alibi

The new album will be released through SPV/ Steamhammer on February 05th, 2016 as digipak (incl. bonus track+poster), 2 LP Gatefold version (coloured vinyl, CD in paper sleeve) and download.

05.04.D-Berlin - Bi Nuu 06.04.D-Kiel - Die Pumpe 07.04.D-Osnabr端ck - Bastard Club 08.04.D-Cologne - Luxor 09.04.D-Frankfurt - Nachtleben

4/21: West Hollywood, CA @ The Whisky 4/22: Ramona, CA @ Ramona Mainstage 4/23: Las Vegas, NV @ LVCS 4/24: Tempe, AZ @ Club Red 4/26: Lubbock, TX @ Jake's 4/27: Dallas, TX @ Trees 4/28: San Antonio, TX @ Korova 4/29: McAllen, TX @ Cine El Rey 4/30: Houston, TX @ Scout Bar 5/2: Tampa, FL @ Orpheum 5/3: Orlando, FL @ The Haven 5/4: Atlanta, GA @ The Masquerade 5/5: Louisville, KY @ Diamond Pub and Billiards 5/6: Baltimore, MD @ Soundstage 5/7: Amityville, NY @ Revolution Bar & Music Hall 5/8: Worcester, MA @ The Palladium 5/9: Montreal, QC @ Foufones Electriques 5/10: Toronto, ON @ The Garrison 5/11: Rochester, NY @ Montage Music Hall 5/12: Pittsburgh, PA @ Hard Rock Cafe 5/13: Battle Creek, MI @ The Music Factory 5/15: Indianapolis, IN @ The 5th Quarter Lounge 5/16: Cleveland, OH @ Agora Ballroom 5/17: Columbus, OH @ Ace of Cups 5/18: Joliet, IL @ The Tree 5/19: Spring Lake, MN @ POV's 5/20: Racine, WI @ Rt 20 5/21: Ringle, WI @ Q and Z Expo Center 5/22: Waterloo, IA @ Spicoli's Grill and the Reverb Rock 5/23: St. Louis, MO @ Fubar 5/24: Merriam, KS @ Aftershock

5/25: Denver, CO @ Bluebird Theater 5/27: Portland, OR @ Hawthorne Theater 5/28: Seattle, WA @ El Corazon 5/29: Vancouver, BC @ The Venue 5/31: Chico, CA @ Lost on Main 6/1: San Jose, CA @ Rockbar

Order in the Chaos "Covers vs Originals: Why I Chose to Blaze My Own Path" We all make a conscious decision to forge our own path in a great many things. When making music, however, you can choose a number of routes. You can be original, you can be a jukebox, you can Rock, you can Rap, you can Seranade like a crooner… but the two choices I’m focusing on in this article is “Cover Tunes” and “Original Music Creation.” Both can give you results, and provide a lot of fun, and get you out in front of people. And, while each path, on it's own, will probably not yield the results you feel that you deserve for all your hard work; attempting to do BOTH, at the same time, will more than likely drive you completely mad.

road, because music is not a Crossroads at all. What you have going on between you, the Devil, Jesus, and your Dealer might be, but music is not a DO or DIE situation, is it? Unless you actually sat on your bedroom floor, trying to learn the blues, and failing that, you decide to offer up your soul in exchange for being a better player… I don't think that scenario or descriptive works, here, either. So, we'll stick with my illustration of a simple “Y-road.”

So, you begin playing guitar - the very first step down that road. You start getting pretty cool with it. In other words, what is coming out of the instrument doesn't completely suck. So, you make the choice to play on, or NOT to play on. And, yes, I agree... I guess that decision could be construed as a Crossroads too; but, remember Sounds like you are in a quandary that puts you that we are abandoning that illustration, so let’s between the Devil and the deep blue sea, doesn't carry on. We’re assuming you decided to continit? While some players/musicians never even re- ue playing. ally think about it; others make a conscious decision to choose one over the other (I’m one of those, and freely admit it). And, many of the So, you made your choice, and you begin to lisplayers that play cover tunes, on a weekly basis, ten to other players. Someone turns you onto might take what I say harshly… cool, that's your some new sound, or vibe that some band is creright. But, truth be told, it's kind of like not ever ating, and you get sucked-in. Maybe you already choosing whether you liked boys or girls at pu- were. But you start figuring out that person's berty, to me. music on your instrument. This is a totally natural and expected step in your development as a MUSICIAN. So accept it. Shoot, I learned my Now... no knee-jerk reactions. Let me explain first AC/DC riff when I was 13 and it changed myself a little, before you turn to the next page... how I looked at music in regards to my life forever. But, I did not actively pursue that riff. Meaning, I did not play Angus Young's or MalYou see, I have always seen music as a well- colm Young's part and say… "Man, this is what ridden, Y-split, road. Or, if you want to go with I am going to do for the rest of my God-forsaken the old Delta Blues perspective, a Crossroads. life. I am going to play this one, single, riff every But, I would actually say it is more of a "Y" split single day, for two or three hours... for the next

30 years! Then, I will have succeeded, and every- my lack of confidence because I was nothing more one else can kiss my..." than a body without an essence to draw upon. Nope, I took that riff, catalogued it away and learned another riff. Soon, my library of playable songs by other people reached well over 400 songs. And, I went out and joined bands and playing shows by the time I was 15. I did my first nightclub dive when I was 17.

And, that frustrated me on every level, from heart to soul. So much so, that I decided that I would never play in another cover band again. And I haven’t. I was 24 at the time of that decision. I had already wasted six of my best years as far as the music industry was concerned. And I had earned a total of MAYBE a couple of thousand dollars over that whole duration of gigging out. And, since I am a realistic person that seems to have been gifted with some semblance of hindsight, I vividly recall driving down my “road” one evening. I was learning someone else’s work again, when I suddenly yanked the proverbial wheel, to connect with a dimly lit, branch-off road that just came into view. It was upon inverting the notes and chords on Ronnie James Dio’s “Last in Line” intro, that I wrote my very first original tune.

I learned more and more songs as more and more songs were released... constantly pursuing that ever -elusive Pip Sqwack Bird. I played in cover bands for a number of years. And what kept sinking in a little deeper each time I left one scenario and joined another, was that MY library was always expected to increase to accommodate the new band's capabilities and limitations. While, their library was limited to about 15 songs; here I was, learning the entire album-recorded catalogs of Van Halen, Ronnie James Dio, Judas Priest, Iron Maiden, Black Sabbath, Ozzy Osborune, Rain- I had taken the branch-off road and I wasn’t going bow, Michael Schenker... the list goes on. But all it back. did was teach me their songs and how to play with other folks on a common theme and in time. It was not insightful to me in any other way, other than that I was getting sick of it. Because the other numbing, side-effect of being a cover song player was that whenever I sat down to practice my instrument, I was either having to learn someone else’s tunes or having to insistently practice them. It wasn't doing anything more for me. I already learned a number of guitarist's styles, phrasings, tones, sounds, and other nuances… but, even with all of that, I wasn't “ME”. I was a mish-mash of other people’s accomplishments. And, I couldn’t lay down a totally original riff, or start soloing by myself like you hear the big stars do… even to a guide track. I didn’t have an original guitar tone, I didn’t have a style, and I certainly didn’t have any ego about it. How could I, I hadn’t actually done anything. All I did was parrot what I heard. I knew no scales, no theory, and nothing more about reading/transcribing sheet music than I had almost failed in Junior High School. I couldn’t hold my head up, so my hair grew longer to cover

Wearable Art

Order in the Chaos So much so, that I decided that I would never play in another cover band again. And I haven’t. I was 24 at the time of that decision. I had already wasted six of my best years as far as the music industry was concerned. And I had earned a total of MAYBE a couple of thousand dollars over that whole duration of gigging out. And, since I am a realistic person that seems to have been gifted with some semblance of hindsight, I vividly recall driving down my “road” one evening. I was learning someone else’s work again, when I suddenly yanked the proverbial wheel, to connect with a dimly lit, branch-off road that just came into view. It was upon inverting the notes and chords on Ronnie James Dio’s “Last in Line” intro, that I wrote my very first original tune. I had taken the branch-off road and I wasn’t going back. I was headed down a completely un-developed road with nothing more than rough, dirty, indistinct, notion to guide me. Whereas the road I had just come off of was well paved, polished, conditioned, and “maintained” for me by others. I possessed no tools to build on this new road but the skills that I had gleaned from all those other players over the years. So, that is what I used to forge this new path wide enough for me to go back and get a wagon train later (meaning... a band). I went out and bought book after book on scales, chord structure, melodies, harmonies, percussion, timing, even books on Bass Playing and took about five lessons (I stopped paying to watch other guitarists better than me wank-off to my face, and charge me $25 when I realized that all the lessons were doing was feeding their own ego, and adding nothing to my own.) I studied scales the most, and their relation to

chords. I joined an ORIGINAL BAND. I saw their ad in the newspaper, they had a CD out… they were big-time. I called them up and met with the singer and Bass player. I brought a guitar and a little practice amp. I plugged in and started warming up with the opening intro to Decadence Dance by Extreme. With all the little pinches, squeels, and dynamics that Nuno plays with. Now, here is where those years of cover experience come into play… they handed me a copy of their CD and a four song EP/Demo tape to learn what I could, and come back out for a proper Jam on their music. A total of 17 songs for me to figure out. I learned every part on guitar that I would be expected to carry as a single guitarist in two weeks, met with them, jammed, and that night they told me that I passed the audition and that we had our first show the next week in another city. But, still, I was doing cover music! I was playing somebody else’s work (and doing a better job of it, the old guitar player was a little less than to be desired. But, I respect that he had accomplished more than I had at that point). We started writing new music, and tracked five new original singles that went out to reps and labels. But, the band was already doomed due to constant drummer rotation. When the founding Bassist quit, it was done. I left, heart-broken and irritated. I gave up pursuing playing in a band ever again. Obviously, that didn’t happen as I ended up conceptualizing and creating one of the best bands I have ever had part in. I have released an EP of five of my own songs that I wrote the music and melody for through that band. And, it’s the best stuff I have ever done. Because, I was feeding on MEAT, instead of puking up FAT!

Translates to: I started WRITING NEW songs heart and soul? Nah… remember, I already did instead of LEARNING OLD ones. that, too. Don’t get me wrong, I still play old Dio and Priest stuff, but now I only play those tunes to keep up my chops at home or to warm up, or to have an impromptu jam with a drummer to lighten the mood. But, the thought of getting up on stage and performing someone else’s material night after night and get paid pennies for it? No way. Not unless it was an original band that took that ONE song that fit them, and turned it into their own. Which, is respectful, in my view, because you are not just blatantly parroting someone else’s soul note for note each night… you are baring your own, to some degree, and just using their “root” as a support. So, that’s okay. But to intentionally go out and pay a cover to hear a band play a full set of songs from other bands for TWO freaking HOURS? Not me. Not interested. Nor are a lot of folks. And, because I’ve been there and done what you are doing, and because I am wired the way I am, I will only critique your playing anyway... so I make the conscious decision to avoid the whole issue, by not going to the local shows that are comprised of cover tunes being played by folks who had nothing to do with the original writing of the song. And for all intents and purposes, I could more than likely do a better job than your guitarist is currently doing up there, right now, but he can have it, because I grew out of those diapers years ago -- kidding! Relax :) “But, Dude, I make SOOOO Much money with my tribute band!” Yep. I believe it. A Tribute band can make you a LOT of money. Don’t get me wrong. All the Casinos will suck you up. They will let you play their joint until the cows come home, but you will never achieve any recognition, get any opportunities to play the BIG stage on your own merit, and you more than likely will NEVER get the original band’s attention enough to have them bring you on. And why would you want that anyway? To just regurgitate someone else’s work and sign CDs for fans of that other person’s

Whereas, with ORIGINAL music, you can do anything you want, without limitation. That is, except for the one limitation in whether you can convince others that what you are doing is pleasing and acceptable to their ears, or not. Which, believe me, is not all that hard. You can pretty much step out your back door and start thwacking a Canadian Goose with a whiffle bat to 4/4 time... record it... and someone will want to buy it. Believe it. Maynard did it thrashing about a piece of sheet metal in a wide-open warehouse along to a Jacob’s Ladder zapping away... It takes up 4 minutes of the Aenima album. And I bet nobody who listens to that album skips that track, either. “Yeah, but, you can’t make money playing origin nals.” More than likely TRUE… but, you CAN! You just have to do it right and do it smart. And you also need to do it within confines of the Law. If you do not, someone else will get rich and successful off your work. Because, you were too stupid, carefree, or ignorant to protect yourself. That is, if you write good music. It happens all the time. How do you think his own Brother-in-Law took Billy Joel for millions of dollars while he was in the highlight of his career and one of the biggest songwriters/performers in the world? He forgot to do it RIGHT. After protecting your music, you can license your songs, jingles, raps, whatever. You can submit them to compilation CDs being put together on someone else’s dime. You can send a copy of your song to your local genre-appropriate radio station. Folks will hear it, and chances are, someone will reach out to you. On a funny note, whenever I mention PROs, all the folks who have never released original music or have ever been represented by a PRO all start crying out that PROs are evil. Sorry, unless you are a member of a PRO... you cannot legally release any-

thing musically and make money off of it. And you CERTAINLY do not have a right to mouth off about PROs, when you have zero experience with them. That just makes you come off as an idiot to fight and argue about something you probably know nothing about. Right? “But, we did all that, we’re on the radio now, dude... should we ask for more money?” Yes, by all means. Do it! Recording and releasing a single is quite an accomplishment! It also puts you into a different echelon of musicianship and separates you from that ever-growing list of wannabes. That is, of course, if you do it RIGHT. Not just saving up your cash or taking from band mates and girlfriends to get into your friend’s studio to lay that tune down. Not that there is anything wrong with that, but you can’t stop there. You have to make it a true, viable, retail product. You need to get the USBN code, the ISRC code, your Cool, man… you still have to be smart about it, though. Not just have the sound guy at the local pub send you an eMail asking you to play next Saturday. Yeah, those gigs are fun... but you should be doing them with a Performance Agreement. If you are not... then you are part of the reason the local music scene is in such a bad state these days. What you have to realize, is that the club owner makes money whether your band plays or not. But, they want your band to bring in a crowd so they sell MORE beer and Alcohol-related products. On a given night, a club will pay you $100 to $150 to bring them a crowd and let you get up in front of them and make a fool out of yourself, but they bring in an excess of $5000 to $50,000 or more in sales a night. Depending of course on patronage, the size of club, demographic, location, alternative forms of entertainment being offered in the vicinity on that night, etc. They can afford to pay you a GUARANTEE of $500 and a take of the door... since, these days, it’s YOU bringing in their whole crowd, anyway. Then, if you are doing all the work to bring the crowd so you can play... the owner should pay you accordingly.

That is, unless he doesn’t respect you... because you failed to have him sign a performance agreement. if you have released an album PROFESSIONALLY, and are STILL only getting paid a hundred or so dollars a night to play… then you got deeper issues than writing poor music. You have a planning. projecting, and growth issue in your band. And if you are the only one who recognizes it, and the only one who tries to fix it… and you get push-back by the rest of the band… quit. They won’t go anywhere. You’re a member of a PRO, act like it. And if you released your album correctly, you are a professional act that deserves all of the respect that comes with it. Conduct yourself like a Touring Band… no bad will come from it. Own it. You frigging deserve it. And don’t play clubs who don’t pay their PRO rights, because they chose to run a bar… they should know the laws that govern it. “Come on, we ALL know bars pay dues to PROs... nobody is getting ripped off.” But here’s the thing... not ALL of them do. As a matter of fact, percentage-wise, I would venture to guess that the numbers are more skewed toward the NOT paying dues, than ones who do. Regardless... they should ALL pay those dues. Because MUSIC is what brings people into their establishment... it surely isn’t the booze or the building, in most cases. But music helps sell the booze. Thus, why should they be able to play my

music or yours, make money off it... and you get I had compared PROs to Worker’s Unions, renothing? cently, in a conversation on Facebook. A guy who has never written or released an original song in his entire life comes on and says he wants me to “But ASCAP, BMI, and the RIAA is all a RACK- explain to him just how PROs and Unions are in ET!” any way alike... and that I need to educate myself. Horse-malarky. They exist to protect those who My answer... I have released music that is being create music for a living. As a job. Not like those played on radio stations in 27 different countries, kids wanting to be the next Slipnot or Dream The- around the world. I have songs on the radio in the ater. Yes, those folks who SHOULD be getting USA. I have songs on compilations, in commerthose gigs that your little band is doing for free. cials, and even music supporting unrelated prodAnd you know what, I thank GOD those rights ucts. And I hired no lawyer. I took no classes. I organizations exist, because if your band plays one LEARNED from those I worked with and grew of MY songs in a club. I get paid for it. Why not? beyond my own mental ignorance and shortcomYou are getting paid (or not, depending on your ings to realize that what everyone else is charging level of pride & business savvy) based on my the musician for up-front, can all be done by me, work, why do you deserve to make money off of anyway. Why pay them? Especially if you go back and listen to a mix and say, gosh... I think I could me? Do you feel justified? Shame on you. do a better job. Then try to. Don’t just say it. So, yeah… I think I just might be a little more educatI guess if I go out and fill my gas tank in my car, I ed on the entire subject than that fool. should just let the neighbor’s kid take it for a joy ride to Canada without asking. Right? Because that is what you are doing to all those musicians “Yeah, but we’re not interested in making it big...” you love so much that you took the time to learn or “But I lost all dreams of being a rock star, years their material, and then go out and get paid to ago!” play it at a club, and that club doesn’t pay their dues. Then you can stop reading right there, because, music has no age and no age limit. Music does not Besides, if you don’t have representation protect- know the passage of time, and Music accepts no ing your intellectual property, then you have no excuses... and, neither do audiences. You just nevworth, do you? A lot of people out there playing er got that simple equation. Now you have... so the clubs do it as a hobby. But, my friends... it is you can start over with renewed vigor in your my belief that those folks should not be getting newly found knowledge that the music industry paid one dollar more than their gas to get there to has changed. That there are no label scouts complay, because those folks are undermining an en- ing out to clubs to judge you by your looks. And tire industry at it’s most base level. Like termites, that the listener’s ear cannot determine appearance eroding away at the foundations of its structure, or chronological status, or skin color, only if what without even realizing it. Just waking up, and eat- they hear tickles their ear bones or not. ing... without a thought to the damage they are causing. The building crumbles... the termites get I have seen some ridiculously talented folks crushed. Or, better yet, someone comes in with a trapped in the Seattle market because they cannot pesticide and sprays the termites and saves the get their head out of the thought that the bus left foundation. That is what I am trying to do, here. I before they were ready... or just plain peeled out am spraying you with knowledge, so that you can on their feet as it passed. When the reality is... be successful... and thus help to resurrect a crip- YOU are the only one that cares that you are in your 40s. So, knock it off and stop making excuses pled industry that can again be lucrative. for why you can’t commit to anything. Stop saying you can’t record, you can’t write, you can’t

Order in the Chaos

Cool, man… you still have to be smart about it, though. Not just have the sound guy at the local pub send you an eMail asking you to play next Saturday. Yeah, those gigs are fun... but you should be doing them with a Performance Agreement. If you are not... then you are part of the reason the local music scene is in such a bad state these days. What you have to realize, is that the club owner makes money whether your band plays or not. But, they want your band to bring in a crowd so they sell MORE beer and Alcoholrelated products. On a given night, a club will pay you $100 to $150 to bring them a crowd and let you get up in front of them and make a fool out of yourself, but they bring in an excess of $5000 to $50,000 or more in sales a night. Depending of course on patronage, the size of club, demographic, location, alternative forms of entertainment being offered in the vicinity on that night, etc. They can afford to pay you a GUARANTEE of $500 and a take of the door... since, these days, it’s YOU bringing in their whole crowd, anyway. Then, if you are doing all the work to bring the crowd so you can play... the owner should pay you accordingly. That is, unless he doesn’t respect you... because you failed to have him sign a Performance Agreement. And if you have released an album PROFESSIONALLY, and are STILL only getting paid a hundred or so dollars a night to play… then you got deeper issues than writing poor music. You have a planning. projecting, and growth issue in your band. And if you are the only one who recognizes it, and the only one who tries to fix it… and you get push-back by the rest of the band… quit. They won’t go anywhere. You’re a member of a PRO, act like it. And if you released your album correctly, you are a professional act that deserves all of the respect that comes with it. Conduct yourself like a Touring Band… no bad will come from it. Own it. You frigging deserve it. And don’t play clubs who don’t pay their PRO rights, because

they chose to run a bar… they should know the laws that govern it. “Come on, we ALL know bars pay dues to PROs... nobody is getting ripped off.” But here’s the thing... not ALL of them do. As a matter of fact, percentage-wise, I would venture to guess that the numbers are more skewed toward the NOT paying dues, than ones who do. Regardless... they should ALL pay those dues. Because MUSIC is what brings people into their establishment... it surely isn’t the booze or the building, in most cases. But music helps sell the booze. Thus, why should they be able to play my music or yours, make money off it... and you get nothing? “But ASCAP, BMI, and the RIAA is all a RACKET!” Horse-malarky. They exist to protect those who create music for a living. As a job. Not like those kids wanting to be the next Slipnot or Dream Theater. Yes, those folks who SHOULD be getting those gigs that your little band is doing for free. And you know what, I thank GOD those rights organizations exist, because if your band plays one of MY songs in a club. I get paid for it. Why not? You are getting paid (or not, depending on your level of pride & business savvy) based on my work, why do you deserve to make money off of me? Do you feel justified? Shame on you. I guess if I go out and fill my gas tank in my car, I should just let the neighbor’s kid take it for a joy ride to Canada without asking. Right? Because that is what you are doing to all those musicians you love so much that you took the time to learn their material, and then go out and get paid to play it at a club, and that club doesn’t pay their

dues. Besides, if you don’t have representation protecting your intellectual property, then you have no worth, do you? A lot of people out there playing the clubs do it as a hobby. But, my friends... it is my belief that those folks should not be getting paid one dollar more than their gas to get there to play, because those folks are undermining an entire industry at it’s most base level. Like termites, eroding away at the foundations of its structure, without even realizing it. Just waking up, and eating... without a thought to the damage they are causing. The building crumbles... the termites get crushed. Or, better yet, someone comes in with a pesticide and sprays the termites and saves the foundation. That is what I am trying to do, here. I am spraying you with knowledge, so that you can be successful... and thus help to resurrect a crippled industry that can again be lucrative. I had compared PROs to Worker’s Unions, recently, in a conversation on Facebook. A guy who has never written or released an original song in his entire life comes on and says he wants me to explain to him just how PROs and Unions are in any way alike... and that I need to educate myself. My answer... I have released music that is being played on radio stations in 27 different countries, around the world. I have songs on the radio in the USA. I have songs on compilations, in commercials, and even music supporting unrelated products. And I hired no lawyer. I took no classes. I LEARNED from those I worked with and grew beyond my own mental ignorance and shortcomings to realize that what everyone else is charging the musician for up-front, can all be done by me, anyway. Why pay them? Especially if you go back and listen to a mix and say, gosh... I think I could do a better job. Then try to. Don’t just say it. So, yeah… I think I just might be a little more educated on the entire subject than that fool.

Then you can stop reading right there, because, music has no age and no age limit. Music does not know the passage of time, and Music accepts no excuses... and, neither do audiences. You just never got that simple equation. Now you have... so you can start over with renewed vigor in your newly found knowledge that the music industry has changed. That there are no label scouts coming out to clubs to judge you by your looks. And that the listener’s ear cannot determine appearance or chronological status, or skin color, only if what they hear tickles their ear bones or not. I have seen some ridiculously talented folks trapped in the Seattle market because they cannot get their head out of the thought that the bus left before they were ready... or just plain peeled out on their feet as it passed. When the reality is... YOU are the only one that cares that you are in your 40s. So, knock it off and stop making excuses for why you can’t commit to anything. Stop saying you can’t record, you can’t write, you can’t practice on a schedule, you aren’t an edgy player, or a showboat. Because, it is my hope that you will realize that even an 84 year-old man can still make amazing music that people will want to hear... Andre Segovia did... and He was the guitarist who Randy Rhoads learned from. See how it’s all supposed to work? Get serious again... it CAN pay off for you... it just takes a little adjusting... but like the aforementioned Maynard said, “This may hurt a little, but it's something you'll get used to.” “There you go again, making it sound easy.”

It isn’t. Trust me, and it is not my intention to dissuade you from either path. Just the reasoning of why I chose to go original. You can do whatever you want. It’s your life. It is only for me to help those who wish to listen, and I do so through my own experiences. Take them as you will... or don’t. It makes no difference to me one way or another... but, then again, neither does your playing a song I have already heard five billion times on “Yeah, but we’re not interested in making it big...” the radio... and doing a half-assed, un-inspired veror “But I lost all dreams of being a rock star, years sion of it... to sell drinks, even... I want to sell ALBUMS and be remembered beyond just next Satago!” urday night. How about you?

Order in the Chaos Cool, man… you still have to be smart about it, though. Not just have the sound guy at the local pub send you an eMail asking you to play next Saturday. Yeah, those gigs are fun... but you should be doing them with a Performance Agreement. If you are not... then you are part of the reason the local music scene is in such a bad state these days. What you have to realize, is that the club owner makes money whether your band plays or not. But, they want your band to bring in a crowd so they sell MORE beer and Alcoholrelated products. On a given night, a club will pay you $100 to $150 to bring them a crowd and let you get up in front of them and make a fool out of yourself, but they bring in an excess of $5000 to $50,000 or more in sales a night. Depending of course on patronage, the size of club, demographic, location, alternative forms of entertainment being offered in the vicinity on that night, etc. They can afford to pay you a GUARANTEE of $500 and a take of the door... since, these days, it’s YOU bringing in their whole crowd, anyway. Then, if you are doing all the work to bring the crowd so you can play... the owner should pay you accordingly. That is, unless he doesn’t respect you... because you failed to have him sign a Performance Agreement. And if you have released an album PROFESSIONALLY, and are STILL only getting paid a hundred or so dollars a night to play… then you got deeper issues than writing poor music. You have a planning. projecting, and growth issue in your band. And if you are the only one who recognizes it, and the only one who tries to fix it… and you get push-back by the rest of the band… quit. They won’t go anywhere. You’re a member of a PRO, act like it. And if you released your album correctly, you are a professional act that deserves all of the respect that comes with it. Conduct yourself like a Touring Band… no bad will come from it. Own it. You frigging deserve it. And don’t play clubs who don’t pay their PRO

rights, because they chose to run a bar… they should know the laws that govern it. “Come on, we ALL know bars pay dues to PROs... nobody is getting ripped off.” But here’s the thing... not ALL of them do. As a matter of fact, percentage-wise, I would venture to guess that the numbers are more skewed toward the NOT paying dues, than ones who do. Regardless... they should ALL pay those dues. Because MUSIC is what brings people into their establishment... it surely isn’t the booze or the building, in most cases. But music helps sell the booze. Thus, why should they be able to play my music or yours, make money off it... and you get nothing? “But ASCAP, BMI, and the RIAA is all a RACKET!” Horse-malarky. They exist to protect those who create music for a living. As a job. Not like those kids wanting to be the next Slipnot or Dream Theater. Yes, those folks who SHOULD be getting those gigs that your little band is doing for free. And you know what, I thank GOD those rights organizations exist, because if your band plays one of MY songs in a club. I get paid for it. Why not? You are getting paid (or not, depending on your level of pride & business savvy) based on my work, why do you deserve to make money off of me? Do you feel justified? Shame on you. I guess if I go out and fill my gas tank in my car, I should just let the neighbor’s kid take it for a joy ride to Canada without asking. Right? Because that is what you are doing to all those musicians you love so much that you took the time to learn their material, and then go out and get paid to

play it at a club, and that club doesn’t pay their Big dues or “But I lost all dreams of being a rock star, years ago!” Besides, if you don’t have representation protecting your intellectual property, then you have no worth, do you? A lot of people out there playing the clubs do it as a hobby. But, my friends... it is my belief that those folks should not be getting paid one dollar more than their gas to get there to play, because those folks are undermining an entire industry at it’s most base level. Like termites, eroding away at the foundations of its structure, without even realizing it. Just waking up, and eating... without a thought to the damage they are causing. The building crumbles... the termites get crushed. Or, better yet, someone comes in with a pesticide and sprays the termites and saves the foundation. That is what I am trying to do, here. I am spraying you with knowledge, so that you can be successful... and thus help to resurrect a crippled industry that can again be lucrative. I had compared PROs to Worker’s Unions, recently, in a conversation on Facebook. A guy who has never written or released an original song in his entire life comes on and says he wants me to explain to him just how PROs and Unions are in any way alike... and that I need to educate myself. My answer... I have released music that is being played on radio stations in 27 different countries, around the world. I have songs on the radio in the USA. I have songs on compilations, in commercials, and even music supporting unrelated products. And I hired no lawyer. I took no classes. I LEARNED from those I worked with and grew beyond my own mental ignorance and shortcomings to realize that what everyone else is charging the musician for up-front, can all be done by me, anyway. Why pay them? Especially if you go back and listen to a mix and say, gosh... I think I could do a better job. Then try to. Don’t just say it. So, yeah… I think I just might be a little more educated on the entire subject than that fool. “Yeah, but we’re not interested in making it .”

Then you can stop reading right there, because, music has no age and no age limit. Music does not know the passage of time, and Music accepts no excuses... and, neither do audiences. You just never got that simple equation. Now you have... so you can start over with renewed vigor in your newly found knowledge that the music industry has changed. That there are no label scouts coming out to clubs to judge you by your looks. And that the listener’s ear cannot determine appearance or chronological status, or skin color, only if what they hear tickles their ear bones or not. I have seen some ridiculously talented folks trapped in the Seattle market because they cannot get their head out of the thought that the bus left before they were ready... or just plain peeled out on their feet as it passed. When the reality is... YOU are the only one that cares that you are in your 40s. So, knock it off and stop making excuses for why you can’t commit to anything. Stop saying you can’t record, you can’t write, you can’t practice on a schedule, you aren’t an edgy player, or a showboat. Because, it is my hope that you will realize that even an 84 yearold man can still make amazing music that people will want to hear... Andre Segovia did... and He was the guitarist who Randy Rhoads learned from. See how it’s all supposed to work? Get serious again... it CAN pay off for you... it just takes a little adjusting... but like the aforementioned Maynard said, “This may hurt a little, but it's something you'll get used to.” “There you go again, making it sound easy.” It isn’t. Trust me, and it is not my intention to dissuade you from either path. Just the reasoning of why I chose to go original. You can do whatever .

Order in the Chaos “So, Why the title ‘Covers vs Courage?’ ” Because, if you hadn’t figured it out yet, I’m of the ilk that believes that it takes a whole lot more courage to go up on stage and convince people to like and support something new, than it does to get up their and regurgitate something that was already accepted. Brien DeChristopher Musician/Entrepreneur/ Owner of Sic•Skinz Custom Drum Wraps b_dechristopher[at]chaosagents[dot]com http://www.ChaosAgents.com http://www.sicskinz.com

“My new Black Widow signature-series Dean Markley Strings. I’ll be at The NAMM Show in Anaheim, CA on Jan 22 doing a meet-&-greet / signing at the Dean Markley booth! Come say hello!”

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