In this episode of "Frequencies," Michael J. Johnson will talk about what it's like to be in a band, why bands break up, and his six "Rules For Being A Good Band-Mate." He will also share some of his many band experiences. Show notes are available at michaeljjohnsonmusic.com/blog.

 

First, some housekeeping:

We’re on iTunes now! 

Website: michaeljjohnsonmusic.com, I will post the show notes in my blog, and you can leave a comment if you want.

Twitter: mikejjohnson

soundcloud.com/michaeljjohnson

Intro music: Soul Magnets

 

Thank you to all of you who listened to the first episode. Please spread the word.

 

I’ve already gotten some responses from possible guests for future episodes, so stay tuned. While I’m not famous, I’m somewhat famous-adjacent, so I might be able to score some decent guests once the word gets out. 

 

I will also be joined sometimes by my wife, the fabulous Ani Johnson. She has voiceover experience, and a very pleasant speaking voice!

 

I’ve been in quite a few bands over the years, both as a frontman and a sideman. So I want to talk about several issues related to being in a band, and the types of challenges as well as rewards that go with it.

 

Band dynamics are very complex. A band is like a family, and it’s not unusual to develop the same type of love/hate relationship with your bandmates that siblings often have. 

 

My early band experiences were marred by:

• ADHD
• Alcoholism
• I hated rehearsing

 

Typical reasons a band breaks up:

• Ego clashes/personality clashes
• Outside influences, either a girlfriend/boyfriend, management, etc.
• Drugs & alcohol
• Jealousy
• Unreasonable expectations or impatience
• No clear power structure

 

Michael J. Johnson’s rules for being a good bandmate

1. Communicate

2. Be on time

3. Remember the band is not all about you

4. There’s a difference between rehearsal and practice

5. Be professional at the gig

6. Be fully committed

Some people have asked me why I post so much about artist rights, copyright, the loss of income from recorded music caused by piracy, streaming, etc, and all the issues surrounding it. Here is a breakdown of my motivations:

1. Since piracy sites are ad-supported, this means someone is making money from it. So, the sites themselves are making bank, and, of course, Google. If nobody was making money at all, that would be a different story.
2. Streaming is happening - the clock can't be turned back on that. However, we still have time to figure out a way artists can get an equitable slice of the pie, so I feel like we need to keep talking about it.
3. It costs money to make music. Musicians still need to buy and maintain their instruments, and even if you do all your recordings at home, you still need to buy the gear, plus there are still other costs, such as publicity material, etc. Which brings me to:
4. This has affected the entire eco-system, including studios, music retailers, live music venues, support industries such as band photographers, the music press, etc. Which brings me to:
5. An entire segment of our population is being squeezed out of existence economically: musicians. Yet, people still want to listen to music. So, in effect, in our capitalist society, musicians are being asked to work for free. (In my mind, I have begun to call this "Musical Socialism.") Yet, musicians still have to pay their bills, rent, food, gas and upkeep for the tour bus, internet access, phone service to book gigs, student loans, etc.

I could go on, but I won't. I certainly hear plenty of "digital utopians" out there advocating for the other side, and they seem to get the lion's share of the press, so we the faithful need to keep the conversation going. I would like to also point out that this greed for free content is continuing to spread out to other industries and media as well. How long before it affects your business, and thus your way of life?

Up until the end of the 20th Century, university music students were generally expected to settle on one instrument, major/emphasis, and musical genre, and work almost exclusively on that. The idea was to choose your career path and stick to it, trying to be the absolute best in your area. There were enough job opportunities for specialists, as long as you were really good at it. The climate has changed, however, as paying gigs have become more and more scarce. In fact, it almost seems like this trend has reversed itself, and the specialists are sitting at home, while those who can wear many hats are the ones making a living.I entered college while this transition was beginning. I can’t honestly say I was savvy enough to see the writing on the wall. However, since I was naturally inclined to be interested in a number of things, it turned out to be the perfect environment for me. It took the colleges and universities a while to catch up to this phenomenon, though. So, I learned what I could in college, and completed my education “in the streets.”
There is still a place for the specialists, but symphonies, opera companies, and similar institutions are struggling, and each time one goes bankrupt, there is more and more competition for fewer jobs. The versatile musician is ultimately more employable in the modern economy.
I use myself as an example. Over the years, I have made a living as a vocalist, guitarist and bassist, and I have even played keyboards on gigs. I have played or sung classical, jazz, rock, R&B, and hip-hop. I’ve made money as a live sound engineer, a composer, and arranger. I’ve directed choirs, orchestras, and vocal and instrumental jazz ensembles. I’ve produced, engineered, mixed, and mastered numerous recordings. And, of course, my degrees have allowed me to make a living teaching music as well.
My case may be a bit extreme, as not everyone has my style of ADD, coupled with a willingness/desire to learn new skills. However, I have many friends and colleagues who are making their living in a similar way. It’s not enough to just be excellent at your main instrument anymore. You must continue to practice your instrument and keep getting better, but you also have to accept the fact that there are thousands of people who are better at it than you. Having a diverse set of skills will often give you an edge that they don’t have.
When I received my undergraduate degree, I had one main goal: to be able to make a living in music without ever having to deliver pizzas again. Within a few years, I had achieved this goal, but it was only due to my versatility.
Still, there are a few downsides, which every aspiring musician should be aware of. If you are playing live gigs, you may have to learn songs that you would never listen to. Sometimes, it will seem like everyone in the room is your boss, which can be difficult if you have problems with authority. Sleep can often be only a luxury, and you will put quite a few miles on your car.
As for me, I have always been motivated by an overwhelming love of music, and the desire to communicate with the world through music. While these issues have bothered me from time to time, I’m ultimately happy to be doing what I love most, and to be getting paid for it. And that makes me very fortunate indeed! 

I have made a living as a musician for many years, and I've spent a fair amount of time playing in cover bands. While playing in these bands can sometimes be lucrative (unless you live in Boston,) they can also lead to some frustrating moments. Many of these frustrations boil down to a difference in what the audience thinks as opposed to what the musician thinks. Here are a few, in no particular order:

• At the end of a four-hour night, anywhere from one or two people to the entire crowd is pressuring you to stay and play some more. What the audience thinks: "Playing music is fun, and they should be flattered that we want to hear more." What the musician thinks: "I've been playing for four hours. I am getting paid for four hours. The club will not pay me extra to play any more. Would you work extra time at your job for free?"
• The persistent song request, and the anger that follows when you don't know the song they are requesting. What the audience thinks: "This is my favorite song, and in my opinion the best song ever written. Why don't they know it?" What the musician thinks: "There are so many songs out there to learn. Every time my band learns a new song, it takes hours of practice. Every person in this audience has a different song that they believe is the greatest song ever. There is never enough time to learn every song that exists."
• "My friend is a drummer. Can he come up and sit in with you?" What the audience thinks: "My friend is the best drummer who has ever lived. They should feel lucky to have him come up and play a song with them." What the musician thinks: "We don't know this drummer, and we have never played with him before. We have spent many hours practicing with our regular drummer, and if things don't sound right, it will make us look bad." (What the drummer thinks: "I don't want someone else playing my drum set. What if he breaks it?")
• The drunken audience member who runs up on stage while the band is on break to talk, rap or sing into the lead singer's microphone. What the audience thinks: "There's a microphone. I'm gonna go up and act like a rock star!" What the lead singer thinks: "Gross. That drunk person is slobbering all over my microphone, and I didn't bring any disinfectant with me."
• "You guys are too darn loud. Can you turn it down an octave or so?" What the audience thinks: "This band needs to turn down. I don't know much about music, but I know the word 'octave' means lower or something, so I'm going to use it to sound like I know what I'm saying." What the musician thinks: "This venue hired a band. Bands consist of a combination of amplified instruments, which can sometimes be turned down, and acoustic instruments like drums, which are harder to control in terms of volume. There is often a limit to how much a band can turn down the volume, and it is also affected by the room itself, which may not really be built for amplified music. If you don't like how loud bands are, either invest in a pair of earplugs or go to a bar that doesn't have a band. Oh, and you don't know what the word 'octave' means!"

There are many more, but those are some of the biggies. So, next time you go out to a club or event that has a live band, remember to be kind to the musicians. They are doing a job for money, just like you, and they deserve to be treated with the same amount of respect and consideration you would expect at your job!