It's not the case anymore since Pete Trewavas sang that part on Into the Blue.Originally Posted by PotatoSolution
I kid, I kid!
It's not the case anymore since Pete Trewavas sang that part on Into the Blue.
I kid, I kid!
There are a few bands that have played ProgDay who are touring machines that make a living from it. Consider The Source and Scale The Summit are two that come to mind, but they are pretty much on the road all the time. Now that Thank You Scientists are opening the Coheed and Cambria tour I assume they must be full time as well with that touring scheudle.
There are quite a few young bands that are doing pretty well for themselves too, although people here will argue as to whether they are prog or not. Coheed and Mastodon are two good examples. Animals As Leaders is another touring machine that appears to be doing pretty well. They headlined a 1000 seat club near me about a month ago. Of course Umphrey’s McGee (who I consider at least somewhat prog) appear to be doing really well, especially on the road.
Yup.,,,, on Sunday we go to church, the church of prog.
We'll be doing that forever.
no tunes, no dynamics, no nosebone
The first time I saw Consider The Source, if the six of us didn't show, nobody in the bar would of had a clue who they even were.
NEVER UNDERESTIMATE THE POWER OF STUPID PEOPLE IN LARGE GROUPS!
That's what ROCK AND ROLL is all about, baby!
Not when you're 50- then it's just sad ;-) IHMO, of course. Unless you're seriously famous already, then I suppose it's expected.
This is pretty much the way it is for all artists, whether they be sculptors, actors, writers, or musicians. Very few can get by on just their medium of choice, there has to be a way to pay the bills (not to mention health insurance) whether it's a day job or a significant other that holds down a nine-to-five.
I don't like country music, but I don't mean to denigrate those who do. And for the people who like country music, denigrate means 'put down.'- Bob Newhart
Prog, even more than Jazz, is a niche or boutique genre of music. Unless a band is willing to gig continuously, I just don't see how any Prog musician could have their music be anything but peripheral to their regular career.
"Prog" does essentially not even qualify as a unified "genre" in that it doesn't resonate with any level of cultural establishments. Just the fact that people in places like PE can't seem to find out or decide what the hell it's all about (due to vast differences in definition and widely varying frames of reference and knowledge) proves that its very existence lays in the dark. Festivals dedicated to obscure types of folk and traditional, to long since extinct types of jazz, to cryptical art musics and electronics, to every possible style of "metal" - these exist in abundance and continuously keep drawing audiences. But no "prog" as in a wholly tag-defying, transgressive and eclectic take on compositionally strategic rock-based music.
I do know of a number of musicians who live by (non-classical) music alone and may or may not pop into a "prog" (related) act now and then, like Ståle Storløkken (or several names in the Rune Grammofon roster) here in Norway or even better, people like Tatsuya Yoshida in Japan or Morgan Ågren in Sweden. But these are extremely versatile, cross-boundary performers who define themselves accordingly - they're hardly "prog musicians".
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Art is its own reward - just as well really, as there's very little financial reward any more. To touch on a point already made, I find it strange, and sad, that some tribute bands can often pull in more fans than a gig by someone who actually played in that band.
I worked briefly with Ray Wilson when he left Genesis, and whatever you think of CAS, Ray is a great singer and wrote some cracking songs. However, in the UK bands like Regenesis would pull a lot more people than Ray. No wonder Ray does his own take on the tribute thing.
TMB used to pull more than some Hackett solo gigs, which I still find incredible (so I don't begrudge him a penny of his GR earnings). Bands like TMB & Aussie Floyd put on a great show, and in the absence of the real thing, it's a great night out, so no criticism of the guys who go out & play the music of other people. I just think that if you're really into a particular band, you should give the individual members (past or present) a listen, and if you like it, support it. Otherwise, they may just stop doing it, and the world will be a poorer place.
That's great. I always get amused that one of the members of Neurosis is an elementary school teacher.But Nils was and is a house-painter and carpenter. And, I believe, a substitute kindergarten teacher. No kidding.
I wouldn't be surprised if Fabio Zuffanti doesn't have a day job. I guess it depends on how well some of his stuff sells in Italy, but I'm guessing he does reasonably well
I know many musicians that are full time "working in music" --but in most cases they have other aspects other than the "band"--be it library music, synch projects, teaching, producing, studios, mail order companies or in some cases "multiple bands/weddings/ tribute bands etc.
AFAIR, Zuffanti works as a studio engineer/technician (and apparently at one point was a coworker of Roberto Colombo, 70s "prog" composer-come-producer). I should think he also puts in some time as studio musician, but his own musical work seems to limit itself exclusively to various types of "prog". The problem is that this concept of music has but a very little name outside of "genre" circuits, and accordingly doesn't turn much sales either in Italy or abroad. Some of the other names I mentioned myself (like Yoshida and Storløkken) have catalogs far outreaching that of Zuffanti, still even they are evidently making more money from touring and performing (and partly through grants) than by releasing recordings with different styles of music.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
True, but they seem to be building a fairly decent following. They played here in my hometown last year and had a pretty decent turnout. Either way, they are on the road pretty much all the time, so must be at least getting by as full timers.
Another obvious name that I don't think has been mentioned is Billy Sherwood. I know His Infernal Name always seems to set off these Pavlovian fits of retching, but he and Steven Wilson are the first two that come to my mind when I think about individuals who seem to be doing OK in today's music-business. They're pretty much exemplars of how to make it work in these trying times. The common thing between them and Zuffanti and Yoshida and Neal Morse and whomever else seems to be that they've all greatly diversified their games, and they all work their asses off. They all do multiple things, not necessarily just playing in bands or other projects, and they all are pretty much hyper-productive.
As far as BANDS go, I have no idea how some of these units can make it work. They've got to diversify and work their asses off too I guess, and there are still no guarantees.
Hired on to work for Mr. Bill Cox, a-fixin' lawn mowers and what-not, since 1964.
"Arguing with an idiot is like playing chess with a pigeon. It'll just knock over all the pieces, shit on the board, and strut about like it's won anyway." Anonymous
“Never argue with an idiot. They will only bring you down to their level and beat you with experience.” George Carlin
This is pretty much where most people are. I work with people with Autism as well as write a column for a guitar magazine and do the solo/fierce and the dead gigs. It's busy and all that but I like it so I continue to do it! I also have a very loyal audience and that helps. I know 99% of the other bands in UK prog and they are all in the same boat, they all either have day jobs/multiple incomes or are wealthy from other things.
I think this is the best option.
People crave the familiar, when it comes to music. This subject has been touched on many times in here over different threads. It does not surprise me that tribute bands can outdraw shows by a band's original members with their solo bands.
That would be me. I've been making a living for around 35 years playing music (although some might not consider it to be a living), but it's mostly been with wedding/corporate party or other forms of pop/rock cover bands. There used to be some studio work, but that has become pretty rare... and actually the above mentioned event work is becoming rare too; the DJs have taken over much of that. I was really lucky to hook up with Gary Sinise and the Lt. Dan Band 10 years ago. It's another pop/rock cover band, but it's a reasonably high profile one because of Gary's celebrity status and doing a lot of fund raising events for the military. It has become the bulk of my income. If it wasn't for that gig, I'd really be scrambling to make a living right now. And when I say "living," I'm talking about making around the same kind of money as a high school teacher. Once in a while I actually make some decent money playing jazz, but prog? Forget about it! My hat's off to those who fight the good fight and become somewhat successful with it, but it's a hard road.
Wow, didn't know you were involved with that, cool gig. And they do good work with all the fundraising.
Babylonian Debt Slavery
The start of all the working man woes... someone should start a band with that name
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