Play for music or money

Ken Thompson · From: Great Falls, Montana, USA

I am just curious of what you pro-road musicians would rather do. This is sparked by Gary M's move to Brooks & Dunn. I personally like D. Bently better that B & D.

So, my question is, would you rather play for a singer that plays the songs you really enjoy night after night, or, play for whoever pays the most even if that means playing music that you really don't care for?

I would guess that money wins out but boy would it be fun to play great songs every night.

Gene Jones · From: Oklahoma City, OK USA, (deceased)

To me, it always depended upon how hungary my wife and kids were back home! It always bothered me to eat cheeseburgers on the road when I knew that they were back home eating tomato soup and crackers while waiting for me to return with a paycheck!

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www.genejones.com

Mark van Allen · From: Watkinsville, Ga. USA

To be fair in this case there may be other factors involved as well, like personal visibility and job security. It seems the steel seat with B&D is one of the more solid gigs in this somewhat shaky industry.

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Stop by the Steel Store at: www.markvanallen.com

Brett Anderson · From: Arizona, USA

To me I would rather play with Dierks Bentley. For one he's from Arizona. And two he at least does some songs that are country. I don't think I cold hang with the B and D nonsense. Another sad story about a performer or performers who's first album was enjoyable followed by a series of overproduced, overhyped, filler for the masses. Dierks works alot of shows though, so maybe Gary Morse doesn't need to work that much. But he did also get alot of face time in Bentley's last video. I doubt he'll get that with B and D what with all the time it takes showing Kix Brooks acting like he's flogging his guitar.

Miguel e Smith · From: Phoenix, AZ

I also have no idea of Gary's reasons for changing jobs (and it's certainly not my business), but isn't it cool that he's in a position of having this level of options!

There is certainly a balance that each of us has to come up when it comes to a love of music and the necessity of cash. When I was young and single, I made a lot of decisions based on wanting to experience something musically wonderful that had nothing to do with finances (painfully had nothing to do with money as a matter of fact). The older I get I find that it's important not only to me but to all the members of my family (and the mortgage company, the power company, etc..)that I make good balanced decisions. (remember what Gene said?)

Now, if I were independently wealthy and didn't need to rely on income from music...

Mike

[This message was edited by Miguel e Smith on 23 August 2005 at 11:15 AM.]

John Ummel · From: Arlington, WA.

Of course given our druthers we'd all rather play exactly the music we love and not have to put up with nonsense we don't care for. Its something a lot of musicians strive for and few achieve. But 'here in the real world'.....sure glad to see someone else shares my not very high opinion of B&D.........

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johnny
GFI Ultra S-10 3&4, G&L ASAT, Jackson Dinky Hardtail, homemade solid body electric violin w/ Zeta pickup, homemade 100W amp w/ 12" Jensen. As Bill Monroe once told me: "Don't never give up"

Ken Thompson · From: Great Falls, Montana, USA

Please remember, THIS IS NOT second guessing anyone's career move, simply a WHAT IF you could choose between the two and maybe comments if you did have to make that decision.

I would love to play for Alan Jackson or George Strait every night but can't imagine having to play for some of the other artists that are out there now.

Mark Metdker · From: North Central Texas, USA

This may be why he chose B&D over Dierks:
This is a list of B&D's awards over the years. Do you think this band has a little moer stability. Nothing against Dierks, but I think B&D will have a larger budget and much more longevity. Security ain't a bad thing in this business. I think it would be one of the better gigs to have.

ACADEMY OF COUNTRY MUSIC

1991 Top Vocal Duet
1991 Top New Vocal Duet or Group
1992 Top Vocal Duet
1992 Album of the Year, Brand New Man
1992 Single Record of the Year, "Boot Scootin' Boogie"
1993 Top Vocal Duet
1994 Top Vocal Duet
1995 Top Vocal Duet
1995 Entertainer of the Year
1996 Top Vocal Duet
1996 Entertainer of the Year
1997 Top Vocal Duet or Group
1998 Top Vocal Duet or Group
2000 Top Vocal Duet

AMERICAN MUSIC AWARDS

1997 Favorite Band, Duo or Group
2000 Favorite Band, Duo or Group

A.M.O.A. JUKEBOX AWARDS

1992 Rising Star Award

BILLBOARD ENTERTAINMENT AWARD
1995 Songwriter of the Year, Ronnie Dunn
1998 Favorite Album by a Duo or Group (Country) The Greatest Hits Collection

BLOCKBUSTER ENTERTAINMENT AWARDS

1995 Favorite Country Duo or Group
1998 Favorite Country Album by a Duo or Group - The Greatest Hits Collection
1998 Favorite Country Duo or Group
1999 Favorite Country Duo or Group
2000 Favorite Country Duo or Group

BMI COUNTRY AWARDS

1996 Songwriter of the Year - Ronnie Dunn
1998 Songwriter of the Year - Ronnie Dunn

COUNTRY WEEKLY GOLDEN PICK AWARDS

1995 Favorite Duo
1996 Favorite Duo
1996 Special Achievement Award - Editor's Choice 1997 Favorite Duo
1997 Favorite Line Dance Song - "My Maria"
1998 Favorite Duo

COUNTRY MUSIC ASSOCIATION

1992 Vocal Duo of the Year
1993 Vocal Duo of the Year
1994 Vocal Duo of the Year
1994 Album of the Year, "Common Thread: The Songs of the Eagles"
1995 Vocal Duo of the Year
1996 Vocal Duo of the Year
1996 Entertainer of the Year
1997 Vocal Duo of the Year
1998 Vocal Duo of the Year
1999 Vocal Duo of the Year

COUNTRY MUSIC TELEVISION (CMT)

1997 Video Group/Duo

GRAMMY AWARDS

1993 Best Country Performance by a Duo or Group with Vocal, "Hard Workin' Man"
1997 Best Country Performance by a Duo or Group with Vocal, "My Maria"

RADIO & RECORDS READER'S POLL

1992 Best Duo
1993 Best Duo
1993 Best Single, "Boot Scootin' Boogie" 1994 Best Duo
1995 Best Duo

TNN/MUSIC CITY NEWS AWARDS

1993 Vocal Duo of the Year
1994 Vocal Duo of the Year
1995 Vocal Group or Duo of the Year
1996 Vocal Duo of the Year
1997 Vocal Duo/Group of the Year
1998 Vocal Duo/Group of the Year
1999 Vocal Duo/Group of the Year

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Zum U-12 w/True Tone pickup thru a Nashville 112

Strats thru a VHT Super 30

Band Pics
http://community.webshots.com/album/176544894AuXSmi

Gene Jones · From: Oklahoma City, OK USA, (deceased)

Brooks & Dunn's name was on the bus and the recording labels and they have been successful in the music business.......but that doesn't include financial success for the steel player or any of the other sidemen.

Playing steel for a "name act" may be good for the ego in the short term but means nothing as far as being realistic and meeting your financial responsibilities to yourself and your family!

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www.genejones.com

Mark Metdker · From: North Central Texas, USA

Or maybe it can, if you negotiate the right deal.

Bob Carlucci · From: Candor, New York, USA

Good topic... Why would Joe Walsh join the Eagles after fronting The James Gang and having great success on his own?

Why would Tim Schmidt join the Eagles over POCO??

Why would Clarance White choose the Byrds over the Kentucky Colonels?

Why would Sammy Hagar join Van Halen after having his OWN successful hard rock band?

Why would ANY great player move to a bigger budget,more well known act?....

It increases thier own credibility, marketability,name recognition... Its a smart career move... Although right now, I would have preferred to work with Dierks to B&D [fat chance right

)... who knows why Gary made the move?.. of course its no ones business except his.. I am not sure he will get the same freedom he had with Dierks... That ProII was RIGHT THERE in your FACE on "Lotta Leavin".. Good hot E9 "bounce".. the way it used to and OUGHTA be! It MADE the tune.

B&D don't seem to use the steel in that manner, but who knows??.. Maybe they'll let Gary "run with it" now and again.. if they don't it would be a shame.... bob

[This message was edited by Bob Carlucci on 23 August 2005 at 01:01 PM.]

Brett Anderson · From: Arizona, USA

Bob, You got me thinking. A bit larger stage for Gary going with b and d. I always love more exposure for our beloved instrument. But I don't recall being able to distinguish any pedal steel guitar in some of their last few hits. I could be wrong. I caught some of their new video "play Something Country". It won't be confused with any musical work of art anytime soon but ironically I didn't hear any steel. It may be there but I didn't hear it. Mark, they do have an impressive list of achievements. But so does Merle Haggard. The two will never be confused for each other. I believe it was P.T. Barnum that said it. Ahhh never mind

John Macy · From: Rockport TX/Denver CO

I might suspect that schedule might have something to do with Gary's decision. Dirks is playing a whole lot of dates, which might hinder the amount of sessions Gary could be doing.

If it were my choice and B&D had less dates for more money, well, count me in...

[This message was edited by John Macy on 23 August 2005 at 01:43 PM.]

John Ummel · From: Arlington, WA.

great topic about a classic musicians' dilema... "To thine own self be true".

Donny Hinson · From: Glen Burnie, Md. U.S.A.

Sometimes, you just need a change!

(I'll answer this one because I don't think many "pro-road" musicians will really state their honest feelings on a public forum.)

Brooks & Dunn are an internationally recognized act act with a ton of awards and longevity, and that has to look pretty good on a resume! Players with the big acts often get a straight salary, and don't have to worry about where the next gig is coming from. With all due respect, Dierks Bentley is pretty new on the scene, and he isn't exactly a household name (yet).

Ken Thompson · From: Great Falls, Montana, USA

Good point Donny, and you're probably right about the hesitation to post when you are one of the few getting the few prime jobs available. Totally understandable.

I just find it an interesting dilemma to have to pick between money or "love", so to speak. I can't even imagine having to play the same 20 songs every night if you didn't enjoy them. The excitment just wouldn't be there for me.

On the other hand, playing with someone like Conway for many, many years as John Hughey did must have been a true blessing. I would never tire of playing that kind of country music.

Just my .02.

Barry Blackwood · Posted 23 Aug 2005 5:38 pm

Age may be a factor. Young, money - old, music. No?

Earnest Bovine · From: Los Angeles CA USA

IF you play the same show every night, I don't think it matters much what you play because you will be tired of it after the first week anyway.

Alvin Blaine · From: Picture Rocks, Arizona, USA

I think that if it were me I probably would do the same move as Gary. He went from playing 275 dates a year with Dierks to about 70 with B&D, and is probably making about the same money a year. So that gives him an extra 200 days a year to play what he wants, or produce, or record, or stay at home with the family, or go fishin'.
It's the best of both worlds, you get to make a living and have time to do what you want to do in life.

ebb · From: nj

i think the cajuns have the answer. what is cable/satellite? eat/dance and if young make more cajuns

Mark Metdker · From: North Central Texas, USA

OK, I'll stir the pot some more. I believe the questions is:

"Do you play for music or money"

OK, in Gary's case, he is a "professional" player. Now I know we have had many debates over what constitutes a "professional player". But just for arguments sake lets say that means someone who relies on playing steel as his livelihood....his sole means of income. As in most professions you want to move up the "ladder" so to speak and better yourself. That doesn't always mean it's what you enjoy the most, but it is a means to an end. More stability, more money, more prestige...whatever. Furthermore, I would think that a musician the caliber of Gary could command a nice salary. And Lord knows B&D could pay it.

Now, as a "pro"....does it matter what the music is you are expected to play? You are an independent contractor....right? Is a carpenter concerned about the style of the house he is building?

"Sorry, I don't build colonial style homes, only english tudors"

Or does a mechanic say:

"Oh, sorry I choose not to work on Chevys, only Fords, I just don't enjoy it as much"

I don't think so. As a business man, and a "pro" you negotiate your best deal. He is a steel player and is looking for the best gig available. That's what I would be doing anyway. It's nothing personal, it's only business. If I'm Gary, I'll play whatever music you want me to, for the most money I can get. That's his JOB! He don't have to like it, he just has to play it correctly, night after night.

Scott Henderson · From: Camdenton, Missouri, USA

anybody know what happened to Troy the former steeler for B&D?

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Steelin' away in the ozarks and life,
Scott
www.scottyhenderson.com

Al Carmichael · From: Sylvan Lake, Michigan, USA

Guys, Gary's played with so many great artists over the years--Pam Tillis, Dwight Yokum, Dierks Bentley, The Judds, McBride and the Ride, and others that I can't remember. He's paid his dues a long, long time and I, for one, am celebrating the fact that he gets to work with a high tier act like Brooks and Dunn--hopefully making the best money he's ever made. Lord knows he deserves it.

Let's not forget--Gary is also a scary lap steel/dobro player and a skilled guitarist. I'm sure he handles multiple roles in B&D quite well.

Lets face facts. There aren't that many players here that make 100% of their living from their steel playing. If you have a good day job going and play for spare cash or for fun, then--sure--play just what you want to play. When you are making all your income from steel guitar and have a wife and family to consider, you think about the size of the paycheck and the prestige of the gig, which will carry you a long ways. After all, its not like you have to give up the other stuff you like. No matter who you play for, there is going to be a format to follow. If I was a big name and Gary was working for me, he'd be playing what I wanted. Still, he could find opportunities to engage in whatever he loved to play on the side.

Until steel players become huge stars to the masses, they play a support role to other artists. You wanna make 300 a week playing what you love, or 2500 a week so you can do what you want in your time off? If I was in Gary's position, I'd do exactly what he did.

John Ummel · From: Arlington, WA.

Al just hit the nail on the head.

Tony Prior · From: Charlotte NC

and maybe Gary is doing this for a living..(duh)

and maybe getting the offer to go with B+D offers the band musicians the opportunity to hook up with a gig that is booked out into the next year..as opposed to NOT...

I am somewhat certain that B+D's calandar goes out much further than Dierks...

It may not even be about the amount of weekly show money but may clearly be about how far out the schedule goes..

Getting paid every week for many many many weeks is way better than getting a great paycheck this week but no paycheck next week..

In many cases with organizations ( and thats what it is ) like B+D , the band is drawing weekly salary ..regardless of whether they are touring or not...I suspect with B+D the band is on salary...as it should be.

I think these types of questions are best left to the likes of the players themselves...

[This message was edited by Tony Prior on 24 August 2005 at 02:19 AM.]

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