Some music types consider a demo to be a band's resume. And, hell, most of you
people interested in careers in music don't do standard job searches requiring
standard resumes anyway, so let's call it what it is. A demo displays your
capabilities. It demonstrates your (collective) personalities and goes a long
way in showing your future employer just what she's getting into if she hires
you. In that way, demos shouldn't be taken lightly. A single mistake could send
yours falling quickly into the dustbin of neglect.
As you might expect, A&R dudes get hundreds of demos weekly. Keep that in
mind when you rock and roller types lick up a used padded envelope and scrawl
an address in crayon across the front. It's imperative that the packaging is at
least somewhat eye-catching. Some A&R guys are cool, just like you and me,
and are looking for bands they might like to listen to at home or see live on
party night. Those are the same guys who lose their jobs a few months after
starting because they can't find a legitimate act to sign. Do yourself a favor
and be professional.
When beginning a demo project it's always a good idea to clear your mind
before hiring out time. It's good to be enthusiastic. In fact, everybody's
enthusiastic about a project while they're wasted with their buddies on a
Tuesday night talking about writing a song or making an album. A little alcohol
haze makes even mediocre ideas sound like Dark Side of the Moon. So
sober up, get serious, and figure out a good, accurate perception of what you'd
like to do once you get in the studio. Map out a plan of what you expect to
accomplish. Although you may have an ammo dump of the best material anyone's
ever heard, you should limit your demo to about three or four of your best
songs. When sequencing, make sure the best stuff goes first, because the person
listening more than likely won't get through the entire disc. Let your friends
hear it, as well as a few strangers. Whatever you do, don't be swayed by what
Mom thinks.
Delta Clutch and the Fantastics, two local bands who have certainly got it
going on, sent me demos recently, and I'm pleased to report that both bands
capture their essences exquisitely. The Fantastics' demo, Morning Comes,
hinges on the band's soon-to-be classic live number "Wasted and Drained," a
post-blues rock roast that combines the sprawling jams of Spacemen 3 with the
psychedelic hard rock drawl of Closer to Home-era Grand Funk and
"Sympathy"-era Stones. The instrumental "Sara O'Hara," with its reverby guitar
and eerie background synths, recalls a grittier Moody Blues, while the closing
"Evangelist" fits lots of outrageous noise and feedback into its four short
minutes. The song, which ignites early and often, is reminiscent of mid-'80s
indie rockers like Crawlspace and Halo of Flies (both genius), which is why the
band should explore a label like Sympathy for the Record Industry. It'd make a
natural fit. The performances sound live and the songs convey the true dynamic
and explosive jam capabilities of the Fantastics. That's what makes the band
great, and that's what will get 'em signed.
Local heroes Delta Clutch also relayed a new demo project, five new rough
mixes ready for preliminary scrutiny and prepared for the polishing phase. The
demo starts surprisingly, with a delicate, down-tempo number called "Anonymous"
and finishes with a slow-goer, "Ordinary Day." But it's OK, because this
post-Beatle bunch of pop-tops can write friendly melodies as well as anyone in
town. Listen to "Anonymous" and its odd chord progression. The vocal melody is
unexpectedly exhilarating, adding to the song's sneaky effectiveness. While the
bass is a little too busy, the faux strings and piano keep the tempos patient,
the hook heartwarming. The follow-up to that chestnut, "Present Tense," kills
the buzz a bit, unfortunately, and sounds to me a little clunky compared to the
elegant opener. Perhaps that's the idea, to show the band's stylistic spectrum,
but the melodic gap between the two songs requires a jarring leap for
listeners, a leap many might not be willing to make. Still, everything else
here, including two delightful middle tunes, "Show Me" and the Diamond
Dogs-era Bowie guitar nugget "See You Again," make this another very
promising Delta Clutch project. Let's hope it sees the light of day soon.
QORQ PRODUCTIONS 10TH ANNIVERSARY. QORQ Productions is celebrating 10
years of album production and engineering with six, count 'em, six new CD
releases. The event, taking place this Saturday at 8 p.m. at the Blackstone
River Theatre (549 Broad Stret, Cumberland, 725-9272), will feature short sets
from everyone responsible for those releases, and perhaps a few combinations
thereof.
The performers will include Matt Everett (Amoebic Ensemble, Eyesores), whose
new album, Little Epiphany, is a potent, eclectic work full of
accordion, dobro, and whatever else was lying around. Curio, QORQ chief/owner
Joe Auger's reunited band from the '80s, came together after a serious bout
with nostalgia to take care of unfinished business. Their record,
Lacuna, is a brisk, blues-based set of pop-rock. Supremely talented
guitarist and Roger Williams music prof Marilynn Mair will also dazzle the
audience with selections from her scintillating new disc, Nadando Em Luz
(Swimming in Light), a work of traditional and contemporary Brazilian
choro. Steven Jobe, who works with His Friends From Rhode Island,
recorded an album with Joe Auger at QORQ and called it The How and Why
Wonder Book, an intriguing set of vintage post-War classical fused with
old-time accordion and oddball related fair. I mean, there's pretty much
everything here -- a bouncy but enjoyable ride through vernacular music of the
'20s, '30s, and '40s. Finally, Joe himself will be doing a solo set most likely
culled from his own new disc, The Invisible Years, an album he started
way back in 1985 before life got in the way. He finished it only recently.
"It's time to get some more word out into the local scene," says Auger, "that
these artists, who have been working endlessly through the various hills and
valleys of the local music roller coaster, refuse to belly up because of hard
times or even a perceived lack of interest. Everyone here makes music because
they must and it's time that more people got a better idea of the wonderful
range of original music that flourishes in these parts. The fact that such a
diverse group of artists wants to continually work with me is my biggest reason
to celebrate, because they inspire me to do my best work and bring my own music
up a notch."
Obviously, Auger and company have been terrifically busy over at QORQ and they
deserve a big celebration. The BRT is the perfect place to hold a party of this
nature. With so many eclectic performers, the theater will inspire it to
somehow make extraordinary sense. There will be raffles for free CDs and lots
of special guest appearances by many other local luminaries. All of the new
releases, as you could have guessed, will be on sale at the show. The cost of
admission, for all this music, is only $10.
E-mail me with your music news, please, at b_gulla@yahoo.com.
Issue Date: December 13 - 19, 2001
