If you want to tour, you pretty much have to have a CD to include in your promo package (you can also post mp3's on a web site). Once you have a CD, you can make a few extra bucks at every gig by selling a few.

A CD for promo purposes, however, does not have to be slickly produced. And it can have as few as 4 or 5 tracks (although that would be hard to sell to fans for more than $5). When we hire a band we are most interested in what they will sound like at our venue; not what they sound like with a bunch of guest musicians in a studio.

I would say that you want to balance your investment in the CD with what you hope to get out of it: gigs or some CD sales at gigs. I know what Jean-Pierre is saying about his CD collection: I now own maybe three recorded versions of every tune I might ever want to learn, and maybe if I'd saved some $ on CD's, I could afford to fly to Louisiana! The fact that I buy CD's of musicians on this forum: well...I can't help myself...it's sort of like gettin' to know your neighbors.

As far what to play on a CD: play what you love to play, the way you love to play it. That way, when you get hired, you'll get hired for doing what you love.

Nonc (and others), your input is requested regarding how slick a demo CD should be: Fostex in the living room, or only Dirk's Cypress House will do?

Stevie "blue" Blais

I get to work both sides of the street. I have to promote some of the things I do, and I get to hire bands for a couple events I'm involved with. Promo CDs. You don't need to spend a fortune. You can knock them off at home and put a nice label on them. But, you never want to apologize for sound quality, or an indecipherible insert. Think of it as perception - you take the time to put together the best package you can. A poorly recorded CD with titles written with a Sharpie is probably going to make the guy hiring you comcerned about what you do and sound like live on stage. He'll see a nice promo package as professional, serious, and all business. And on a four or five tujne promo CD, it doesn't hurt to have one of the tunes recorded live. They are also great to give away from the stage, inspiring CD sales during the beaks.
A few years ago, I hired all the entertainment for a coffee house. Got tons of promo stuff, and generally speaking, the ones I hired that had ratty promo stuff (cassettes at the time) were the ones I regreted hiring. There were exceptions to the rule, but thet were few.
Again, it doesn't take a lot of money, just a lot of thought. IMHO

Hey Steve (and others)... Re: demos to accompany a promo packet and the art of the sell.
Four short tracks is all I ever needed (for the most part).
Kick it off with your most powerful sound on track #1
#2 cool down with a good waltz
#3 hit me with a two step
$4 close with a powerhouse worthy of someone screaming Oncore.. make sound like you've pushed the envelope... even if ya have to incorporate the blend of Rock, Zydeco, Blues and the ever loving Traditional French of matters by bending it over double and showing versitility for every spectator type comprising an audience (something for everyone).
I have had some demos that make me go; ohhhh my gawd, where 's the phone, Linda where is that gad dang cordless (?) I gotta call to make.

Original Materia: Normally I do not care for original material ... I enjoy standards that are done in a persons original style. There are some that cut some dandy original stuff, but it is risky if the person ya send it to is not very receptive to such expressions of oneness.

Personally, myself... I looked at several things, but I prefer live un-edited tracks to get a feel for a prospective band. I want to hear mistakes (real musicians make mistakes all the time, mistakes are often fun stuff that can connect an audience with a band, it's a human thing that becomes relational in the psi)... but more so, I want to hear how they (a band) work through the small goofy stuff most audiences never or seldom pick up on outside of appearing just fun.
While I would rather have a sample of a live gig, I have recieved well composed promo packs that house both studio produced tracks and a short live promo as well (especially if they are pushing a new release)... along with a good package of text and photo shots.
What works for me re: a demo:
Make sure your promo/demo is on target with a sound that is well dialed in, so that what comes through on the tracks is not demolished by any one player or any one mic (it needs to be well blended and never up-staged).
Turn offs: a guitar or drummer or any other player that hogs the sound knowing it is recorded... these band issues do not belong on a promo. Beware of overbearing scrub boards (I lost dat of a lifetime to a late scrub board player that did not dial in... walked on and killed the recordings what could have been an award winner CD)

What about contemporary approaches to demos?
In these technical times, digital video palm recorders are cool. A well done gig can be sampled for a audio and visual... band and audience reaction created without a Spielberg 101 course in movie making. Also, a web page is common place nowadays, it lends a touch of class and speaks to some organizational skills of a forward thinking band (it also serves a home for direct marketing to a mass of consumer potentials).

Thinking out of the box:

Ya have to keep in mind that I tried to stay tapped into the musicians that are out there playing this stuff and gigging. Some never before heard, for where the gig is. It comes as my direct love of the music and culture on my part as a crappy accordion player wanting to share a specific genre or theme... so I would rather take a chance on a band that has a lot of heart and a sincere desire to delight an audience realizing with the right sound man you can do magic most often.

For me (afterwards)... all else is just a matter of a phone call (or even eye to eye contact) to the band spokesperson (leader) as I dislike middlemen agency management types. If they (spokesperson) come off as a used car salesman, I cut it off quickly (good band negotiations are best w/ cool headed figures that can overcome some pressures from cold calls or eye contact)... If they are down to earth and easy going after I ask a few pointed questions, then I would move towards pricing things out (within the budget) mentally and begin visioning a stage and program strategy for the appearance and respond yes or no within a week.

On the subject of Pros and Headliners:
Headliners (top o' the heap bands) already have matters in well in hand with technical riders, back line requirements and stage plots... they have web pages and notoriety, making my task somewhat minimal outside of arranging the payout (if I have decided that is what and who I want). With that, I am left to schedule and determine who opens and closes for such bands (sometimes a harder task)... gather bio data and begin an advertising strategy which bands seldom have a hand in (some provide by-lines and updated photos suitable for media advertising inclussion. True pros are very low maintenance, leaving me to other matters. Some pros, travel with their own sound man that takes over the board and controls dealing with all matters of the end result of sound (Mamou Playboys are one such band instance).
While some riders may house high cost adds to the backline and other facets of overheads... some are well worth the $ it represents in the overall performances and results.

My one big question to any band is regardless of who they are is this:
Do you have 4 hours of material?
Four hrs. in this genre is a gob of tallent in my book. I can bank on that, if they do. That does not ever mean that they play four hours (truth be known).

Beyond the Promo Pack:
A gig looms out of the shadows of a gig! What the heck Nonc?
While I prefer to have some live tracks to review, I may (and I have) go out of my way to catch a gig and play the fly on the wall (super cognito Dave ha) just to study and watch the crowd reactions and catch the vibe of the band... that has booked more bands than I am willing to say (more than any promo), where I may not have booked em at all.

Give me a stage, I will give you a happy crowd:
The art of the sell (from a band perspective) is pretty varied, and, it requires the best simple (yet smooth, smart and calm) spokesperson for the band to advance the total sum of players comprising the band.
Reasonableness, reality and your desire to cater to an audience while having a love affair with your music (from the heart) are valued keys on the upward spiral for any musician or band... without these attributes or aspiring ideals, it is no more than a downward spiral (as in toilet).


I appologize Braves... As ,I am off topic somewhat, and as usual pretty windy in text. To those that gig, want to gig, or ever wonder of the varied aspects of gigging and getting booked, I hope this helps you (from one brave past).. it is electrifying and a very addictive feeling being on a stage doing what you love musically (I've seen it in many)... some will get the bug.. some won't get the bug .. if the music is in you and it screams to come out, it can be as good & personal no matter if you are on a porch or playing to a sea of humanity...it is what it is.

You know who...

Thanks Nonc! Some of your comments remind me that a good gig is a partnership between the performers and the venue: a willingness on the part of the venue to learn about and understand what the band needs to get into their comfort zone to put on a good performance (familiar stage layout, decent time for a sound check, appropriate backline), and a willingness on the part of the band to trust a little in the venue's experience about what works for sound in the space, what information the venue needs for promotion, etc.

The best shows are the ones where the venue makes the effort to know and appreciate the musicians and their music, and the musicians make the effort to appreciate the nature of the place they're playing at and the people they're playing for.
S'b'B

you might re-consider going all-traditional (unless you're on the tour circuit in Louisiana). For all their efforts at re-positioning themselves as traditionalists today, guys like Steve Riley and Wayne Toups first got noticed for their different"ness". Speaking for myself, I have depleted the Cajun/Zydeco bins at Borders and Barnes and Nobles (minus Rosie Ledet and Beausoleil) and got my Nathan and Iry compilations from the internet where I also got from Neal's site what I couldn't find elsewhere. Quite frankly, my some 100 + cd's are IT as far as I'm concerned when it comes to traditional stuff.
Unless you have an incredible cultural stake in re-hashing what's been done, my humble advice: Keep it as French as you can (Cajun), Stay true to the 10-row and make sure that if you gig, it's not just once a year (Mardi Gras). Get that Cajun accordion heard as much and as often as possible. Get them hooked with your own thing, hopefully something they can relate to. If with luck you've managed to point them to Amede or Aldus in the process, you've done your part. Best of luck ever with whatever you undertake.
JP

ac,

I have a lot of talented musician friends who have taken a run at full time music, mostly Folk and Blugrass. I is HUGE effort for modest pay.

Another good example is Ryders In The Sky. They do traditional Cowboy music. They have been on TV, the Opry and numerious PBS broadcasts. They have made a living at it for more than 20 years. But, take a look at their tour schedule, number of ex-wives, miles driven etc. and the glory fades.

Still, you live in a country where you are free to pursue your dreams, and someone is going to be the one in a million.

Good Luck
RPr