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Article from In Tune, May 1986

'Keep It Live' – Ed. speaks out!


As I write this, the IT Cat dozes peacefully by the still-glowing remains of several hundred unfilled VAT returns (set fire to in a moment of alcoholic madness by the mag's accountant during the height of a recent office orgy), the 'phone is (for once) quiet, and it's just the deranged one, alone in the IT office, battering away at the steam-driven word processor, trying to think of something smart to say to grab your attention - some chance!

Having said that, my gaze has just settled on several letters we've received from readers during recent weeks, all of them asking a similar question - how on earth do you go about getting gigs for your band, especially if you don't happen to be based in one of the big cities? It's a problem which I know only too well, having once tried to run a band far away from any major centre of activity.

If I had one wish which I could threaten my fairy godmother a prolonged and messy incident with a depraved gnome if she didn't grant, it would be that, this year, live venues begin to open up again. The past decade or so has seen the sterile, mindless Disco operators move in to provide equally sterile and mindless entertainment for (sterile and mindless?) audiences who, back in the 1960s and early/mid-1970s, paid their money to go and see live bands. For a variety of reasons - mostly to do with musical fashion - the mobile Discos began to edge live bands out of our traditional pub and club venues during the Seventies, and neither the number of places to play in, nor the money offered to bands, have properly revived since.

Almost as a convenient alternative to not being able to play live, the home recording/computer music scene then exploded, catering for players who could no longer find venues for their gigs. Musicians in the early/mid-1980s learned to sit at home and make music in splendid isolation, which I'll admit can be fun and can also teach you quite a lot. But live playing is essential for anyone who even begins to call themselves a musician - which is why I'd hope to see more gigs open to bands of all types during this year.

'Big deal,' I hear you mutter, as you cast a jaundiced eye over the local rag, looking at the number of Discos being advertised. 'So IN TUNE's loudmouthed Editor wishes us lots of new venues. What's he going to do about it?' The answer, of course, is nothing. Even if I went out armed with a copy of the Ronnie & Reggie Book of Business Methods and a loan of the IT Cat's claws, scouring the pubs and clubs of this septic isle for gigs to play, my efforts wouldn't help you at all. While not wanting to sound like Norman 'on yer bike' Tebbitt, it's down to you to get gigs. If the local publican/club owner won't book your band, then why not force his hand - much as Van Halen did when they started? If you believe your band has what it takes, and can pull in an audience, then book a small hall yourselves and promote your own gigs. If your venture works, the recalcitrant publican will soon want a piece of your action! If you don't think that enough people know of you to fill that venue, offer to play at local parties/events/charity dos/fetes/barbecues/youth clubs for free. Batter the local Press or radio station for a plug (that's a lot easier than most people imagine) just to get your name around. If a band has the will to pull a few strokes, to fight if need be to get in front of a live audience, then sooner or later they'll break through - and live performances will improve your playing like no amount of mere practice ever can.

Never mind if the gig involves playing to only 75 people in a run-down pub - the experience will stand you in good stead when you face 75,000. It's only a matter of scale, after all! The band that gigs its way to the top will last longer, entertain its audiences better and make more exciting music than any number of introverted stop-at-homes can ever hope to. The moral of this being that live playing makes for a better band, every time. Betcha!

Finally, we've got a really special offer for you this month - a genuine professional quality instrument lead selling at an equally special low price! The idea of using our rapidly growing buying power to save you money has appealed to us since right back to when we started IT - and indeed we had literally hundreds of takers for the Akai mike offer which we ran in Issue 2. It's taken us till now to find another product which we felt positive enough about to run a further 'reader offer' - but we're always looking for new ideas! What would help us enormously would be if you could tell us what you would like to see us offer (and no, we can't get Les Pauls for £50!). But seriously, if there's a product (especially an accessory) which you'd like to see us offering you, please do let us know. IN TUNE is a two-way magazine, and I rely on your comments, ideas, guidance (yes, even brickbats!) to help me browbeat the IT Cat and get music-related features in the mag, instead of endless reviews of tinned moggy nosh! As ever, all suggestions will be gratefully received!

Anyway, having shot my mouth off yet again (a painful experience, believe me!) it's over to this month's issue of IT - the magazine that proves you can get something for nothing!



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Publisher: In Tune - Moving Music Ltd.

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In Tune - May 1986

Editorial by Gary Cooper

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