Bar scenes we'd like to see.

Kevin Hatton · From: Buffalo, N.Y.

I just got in from a new gig and had to post this. Good gig. $100.00 a man. 9:00-1:00. We are a five piece band with twenty grand of lights and P.A. Some concert halls with premium sound also. So we get to this job and there's a freak'n chalk mark on the floor. This is a nice place. Resturaunt/bar. The biggest country radio station in western N.Y. is there. We ask the owner about the chalk mark and he says we can't setup outside the chalk mark. The dimensions inside the chalk mark are like a postage stamp, and there's a stairway right in front of me blocking anyone from seeing me. We strip down to bear essentials and try to make it work. I'm stuck setting up next to the dart board, the change machine, and the cash machine. The owner comes by while I'm setting up and says to please leave a path to the change machine. It was hysterically funny. The chalk marks on the floor looked like a crime scene. We play three cities. We're use to playing resonably sized places. I wound up setting up my Fender Princeton ON TOP of the change machine. Thank goodness I had tilt backs on the Webb. This was a classic. He wants more dates from us.

[This message was edited by Kevin Hatton on 08 January 2006 at 12:31 AM.]

[This message was edited by Kevin Hatton on 08 January 2006 at 12:32 AM.]

[This message was edited by Kevin Hatton on 08 January 2006 at 12:33 AM.]

[This message was edited by Kevin Hatton on 08 January 2006 at 12:42 AM.]

John Bechtel · From: Nashville, Tennessee, R.I.P.

Kevin;
You're lucky! I didn't find out that my subbing gig, 75-mi away; was cancelled until 30-min. before I was ready to leave home! At least I didn't make the trip before I found out! It could have been worse, but; not much!

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“Big John” Bechtel
’05 D–10 Derby – (6 & Cool

’65 Re-Issue Fender Twin–Reverb Custom™ 15”
Current Equipment
Newest Steel

Chris Erbacher · From: Sausalito, California, USA

kevin that sounds typical. as a musician you've got a couple of decades invested in being by yourself and pissing a bunch of people off because someday you know you're gonna shine and then you show up at a gig and some club owner who can't whistle yankee doodle wants you to jump thru hoops so he and his bar can make money, meanwhile you get $100 to sit trying to hear your amp over the dropping quarters. it's a mystery to me how being a musician means to most people that you are content working for free beers and peanuts and on average doesn't pay as much as the guy working the wendy's drive thru. the dedication and hard work it takes to play any instrument let alone the steel, is comparable to just about any accredited profession, not to mention the cost of quality gear. i guess it is because people are having fun doing it that most people don't take what we do seriously...i'll stop ranting now.

Ron Sodos · From: San Antonio, Texas USA

Listen to this. I drove back from Branson to Albuquerque days early. Rented a hotel room for me and my girlfriend (she lives 200 miles away from me) near the casino where we were scheduled to play Friday and Saturday night. Went to dinner it was Thursday night. While parking my truck I got a call from the drummer telling me the gig was cancelled.

Steve Hitsman · From: Waterloo, IL

I played a bar one time where the only route to the restrooms was right through the band.

And Ron! Only one room? Tsk, tsk.

Jim Peters · From: St. Louis, Missouri, USA, R.I.P.

Just about everyplace we play fits these descriptions!
Why do we do it? Playing in front of people is its own reward. JP

Lee Baucum · From: McAllen, Texas (Extreme South) The Final Frontier

When I first met Jim Loessberg, he was playing for Johnny Bush at a local club, which had a very nice stage. Jim spent his time during the breaks standing in the hall next to the ladies bathroom door. He said that was the best place to meet women!

Lee, from South Texas

Mark van Allen · From: Watkinsville, Ga. USA

Kevin, since he wants you back maybe somebody could politely ask for a few more inches on the chalk line...
I suppose the only reason why club owners do this stuff is because we (bands in general) let them. If no one would play under conditions they don't like, conditions might change.

I try to avoid the gigs that are just too difficult, but there are other factors. There's a club in Birmingham I play occaisionally with a postage stamp stage, steel sets up behind the corner of the bar, really bad smoke... and on a slow night we make like $40... after a three hour drive for me. But I love the guys in that band- the interplay with the guitarist is pure joy, we egg each other on and crack each other up all night, and whoever's there loves it. I played there last Friday and made $220. Had the same amount of fun. Still smoky, though... cough...

Jeff Lampert · From: queens, new york city

Damir Besic · From: Nashville,TN.

that is why I`m not on the road anymore.Having a day job and regular income has a positive side too,you can pick your gigs and bands you want to play with.I don`t have to kiss ass to a stupid bar owners or agents or wanna be stars jumping around trying to be a new Garth with the mic hanging from their heads.Done.No chalk for me,if I don`t like it I pack my s%$^#t back in my car and adios.Sometimes I hate my day job but just a tought of going back dealing with the old music crap gives me a nightmares.If you`re musician you are nobody,I guess they think that we should be honored to play in the stinky hole and that we should do it for free I guess.

Db

last gig I had was at Tootsies on Saturday nite.Band called "The Third Wheel",it started nice,we played music and we were all friends.Than the three singers decided that they don`t need a mandolin/fiddle player (who was a great guy) after that they didn`t need a keyboard (another good friend and great player) and then they said the drummer was no good and too loud so they hired another one(who was way louder/rock drummer),I start geting emails like "don`t call me so and so infront people,I`m now bla bla

" or "from now on all players dress in black" what a crap.They complained to John (owner) that they don`t sound good in Tootsies and start to demend stuff.They quit and went to the "Stage" on Wednesdays afternoon (great business move

)at the end they told me that they don`t need a steel anymore and they were looking for a full time fiddle player (full time???with two dates a week??)and that I can stay until they find one,I had to laugh and say no thanks,you go ahead I`ll pass on that.What a idiots.last time I saw them at the stage they were still nobodies and still playing the same old songs but now with only two wheels,LOL,I guess they fired a third one.What a joke.Love my day job..

link to check if you have too much time on your hands http://www.thirdwheelfanclub.net/index.html

Db

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"Promat"
~when tone matters~
http://hometown.aol.com/damirzanne2/PROMAT.html

[This message was edited by Damir Besic on 08 January 2006 at 11:25 AM.]

Jack Francis · From: Queen Creek, Arizona, USA

Damir
I had some time to kill so I took you up on your invitation....I see why you left these "Wanna be" stars. I really liked the part that said,

"The guys will be taking
some much needed time
off for the Holidays...
And will be back in
2006,
better than ever!!!"

I guess that the music biz has been abusing them with so much work!

Michael Haselman · From: St. Paul

I don't want to get off-topic (anybody who's played a reasonable amount of time can't avoid idiot bar owners), but where did you get the tilt back for your Webb, Kevin?

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Marrs D-10, Webb 6-14E

Stephen Gregory · Posted 8 Jan 2006 5:27 pm

How many 100.00 a night gigs does it take to be profitable after 20 grand in lights and P.A costs? Not to mention the expenses associated with transportation, personal gear, and the many other miscellaneous costs associated with a working band. It doesn't sound like 100.00 is worth the hassle you described. Not to mention that the average 4 hour gig is usually at least an 8 hour day or, about $12.00 an hour BEFORE those huge costs are deducted.

Dave Zielinski · From: Pennsylvania, USA

To get back on the bad gig thing....

We had a regular job that was booked through the brother AND father of the place. It was always double booked. So if your band was booked by the brother and someone elses band was booked through the father, you better make sure you got there first! It paid good, but after getting out run twice, we dropped it!

------------------
1953 Fender D8, 1960 4x10 Bassman, in search of Bigsby

Kevin Hatton · From: Buffalo, N.Y.

Stephan, $100.00 a piece X 5 = $500.00 X playing 6 times a month= $1200.00 per month. $1200.00 per month x 16.6 months (1 1/2 years)= $20,000. We've been together six years. That $500.00 figure is also on the low side. We get jobs through the year that pay $1000.00 plus. We had that equipment more than paid off in the first year. We considered it an investment in the future and its paid off big. Alot of other bands cannot compete with our sound and lights.

[This message was edited by Kevin Hatton on 08 January 2006 at 07:16 PM.]

Damir Besic · From: Nashville,TN.

Jack you are right,if you click on the link "Band" it will say "Band that backs up Third Wheel"..becks up??so that tells me all I need to know.

Kevin,
you guys are lucky,it`s great if band can stay together,then they can actually achive something.All the bands I played were changing members like socks.Wish you guys all the best.

Db

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"Promat"
~when tone matters~
http://hometown.aol.com/damirzanne2/PROMAT.html

Kevin Hatton · From: Buffalo, N.Y.

We are lucky Damir. I go from that situation above this month to playing the Clarion Hotel Ballroom in Rochester and then opening for Marty Stuart at he end of the month. Gotta take the speed bumps. I find that bands that constantly change members rarely succeed.

Sidney Ralph Penton · From: Moberly, Missouri, USA

well you guys have it kinda on the rough side of life. when i play i get all the room i want. but my gigs are a lot different than most. i play my psg in churchs and speak of god and the great things he has done and can do. i don't put anyone down for where they play for that is a personal choice. i have my own pa system amps psg everything the whole works. i like it this way, its refreshing to play in a church giving praise to god, not having to put up with drunks or some of the other weired things you have to put up with in a bar. usually they remove the podieum and i put it together right on the stage and when i am through playing and start speaking i can use my psg to lay my bible on. it is so rewarding to play in church and have people start up singing while your playing raising their hands praising god for all his glory. although you guys probably get paid more than i do cause they usually take up a collection for me and i take just enough for gas money and give the rest back to the church. Matthew 6:21 For where your treasure is there will your heart be also. and i have been told my many that to hear gospel played on steel is very soothing, relaxing and peaceful. but thats ok if you want to play in those places we each have our choice to make and i made mine. God bles all of you. doc

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zum SD10 peavy vegas 400 peavy session 400 steelseats they are great at sales@steelseats.com
if its not a zum steel it isn't real
just trying to steel for the Lord>

Dave Grafe · From: Hudson River Valley NY

Then there's the other side of the coin, as in...

Last year a local singer/songwriter with some following in the area (we'll just call him "Keeter") got together some seasoned players, including one of the best drummers to be found anywhere, and after a few exciting sessions in his shop we decided this was too much fun to stop.

I got us some $150/per man gigs playing in the city parks during the summer just for starters, booked future gigs with summer festivals in 2006, hooked him up with an agent booking county fairs and other festivals and saw to it that we had great gear (sound, lights, guitar amps, the works) and a top-notch sound mixer whenever we needed it.

I also put together a 300+ person email list, composed and sent out a regular stream of updates to keep our shows in the public eye, and promoted the endeavor like crazy.

We recently booked a string of weekly dates at the top music club in town - Tuesday nights, super easy, early show (8pm - 11pm) - not big money to start out but at least we got paid to rehearse the show without all driving the twenty miles to his place and we had a venue to promote the band and build a following - had some really great nights and a few really slow ones, but we always had a ton of fun. And the stage and sound system were more than adequate, a real easy gig.

Imagine our collective surprise when as soon as we started to gather momentum "Keeter" up and ditched us all with a month of dates still on the books (which he cancelled on a few days notice) - said being a "bandleader" was taking too much of his time and energy and he wanted to take time off to finish writing some new material but maye in the spring....

Oh yes, the kicker: He wanted ME to send out a clever notice to the email recipients making it sound like it was no big deal that all the advertised dates were cancelled and oh yeah, could I send him a copy of the list?

Friends and neghbors, that's it for "Keeter and the Long Shots" - it seems none of us will be jumping the next time he calls and asks if we can come out to play. And we thought he was our friend....

If the club owners don't get you the lead singer will.

David Wren · From: Placerville, California, USA

OK, so here's a double booking story with a happy ending.

An old band I was in was booked by Ceaser's Tahoe Casino to play a private part in the main showroom, for the Showtime Network orgainization's party. It was winter, and the weather was mean and nasty, and I had the flu and a fever.... but the show must go on.

Well we did get there first (thank God for that), but soon after the second band (from Reno) showed up. Turned out the Showtime folks had hired them, and Ceaser's had hired us, and by this time I'm really feeling bad and the thought of packing my stuff up with out getting paid sounds bad to me.

Since both bands had contracts (remember to get a contract) they all decided to split the time on stage, but double the pay... Showtime paid in full their band, and Ceaser's paid us in full, and I only had to play about 80 min. I was back in bed in my hotel room in no time.

The other double bookings I've been involved in are the normal kind, you drive there, you leave, no money.

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Dave Wren
'95Carter S12-E9/B6,7X7; Twin Session 500s; Hilton Pedal; Black Box
www.ameechapman.com

Pete Burak · From: Portland, OR USA

Dave,
Sorry to hear about the band.
Pete B.

Michael Breid · From: Eureka Springs, Arkansas, USA

How about this one? You're working a gig with a fair-good girl singer. On break she goes to the john and someone asks if his friend can sing a song. The friend happens to be the daughter of the club owner. So you tell him O.K. She starts singing and the house goes crazy. She's one of the greatest singers they have ever heard. She finishes her song and the crowd won't let her leave. She not only knows her keys, but is hip to what all the musicians are playing. The crowd is standing on the tables yelling and whistling. The booked girl singer comes back and sings a song and the crowd goes back to visiting among themselves and drinking. They are paying no attention to the girl singer at all. She asks the crowd if they want so and so to come back and sing another song. The girl comes back and sings another song, and the crowd once again goes balistic. The booked girl singer yells, "Well, I guess you all know what you want", walks over, puts on her coat and walks out of the club. The club owner's daughter finishes out the night, and after the last set the band packs it up and goes to the parking lot to find ours and just about everyone's in the clubs' tires have been slashed. You never see the girl singer again. You ask the club owner's daughter if she wants to join the band. She says she sings just for fun, and is on her way to California to college to be a microbiologist. Sometimes the music life just ain't fair at all is it?

Kevin Hatton · From: Buffalo, N.Y.

Michael thats classic.

Mike Perlowin · From: Los Angeles CA

I have the ugliest story of all.

This happened about 20 years ago. I was playing with some local guys, nothing particulary special, and we were booked into a club for the weekend. We set up Friday night and did the first 2 sets, no problem. Then during a break I went over to the bar to get a (soft) drink and overheard the clubowner/bartender talking about what a great man Hitler was. I asked him about the holocaust and all the Jews he killed, and the guy pulled out a gun and said that if a Jew walked into his bar, he's shoot him himself.

Under the circumstances, I didn't tell him that I'm Jewish. I simply went back to the stage area, finished out the night, packed up me gear, and after my car was loaded up, told the other guys in the band I wasn't coming back the next day, and why.

I don't think I would have been actually killed, but I do think I would have been beaten up and my instruments destroyed.

Michael Garnett · From: Seattle, WA

Yasher koach, Mike.

[This message was edited by Michael Garnett on 10 January 2006 at 01:22 AM.]

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